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    <title><![CDATA[Children and Youth in History]]></title>
    <link>http://cyh.rrchnm.org/primary-sources/browse/1?tags=North+America&amp;output=rss2</link>
    <description><![CDATA[]]></description>
    <pubDate>Wed, 11 Aug 2021 03:21:55 +0000</pubDate>
    <managingEditor>chnm@gmu.edu (Children and Youth in History)</managingEditor>
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      <title><![CDATA[JFK's Assassination [Student Essay]]]></title>
      <link>https://cyh.rrchnm.org/items/show/485</link>
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    <h2>Dublin Core</h2>
        <div id="dublin-core-title" class="element">
        <h3>Title</h3>
                                    <div class="element-text">JFK&#039;s Assassination [Student Essay]</div>
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                                    <div class="element-text"><p>The assassination of John F. Kennedy on November 22nd in 1963 shocked, saddened, and bewildered American children. Girls and boys of all ages watched the funeral broadcast on television&mdash;including those who lived abroad during the 1960s. For many children, seeing their distraught parents and other adults in mourning undermined their sense of security. The meanings that Kennedy&rsquo;s assassination had on a seven-year-old American girl can be gleaned from her elementary school essay.</p>
<p>Children&rsquo;s cultural productions (whether written or drawn) present researchers with opportunities as well as obstacles to eliciting their understanding of past events. Even a handwritten source like this one cannot provide a thoroughly unmediated understanding of the assassination&rsquo;s meanings to her. Although a descriptive source that recounts an occurrence, it is not necessarily free of partiality. (Consider, for instance, the ways in which she weaves the everyday lessons imparted by adults to children into her history.) In order to achieve an understanding of the past that is as precise as possible using a source like this, interrogate or "unpack" it by subjecting it to questions about authorship, audience, purpose, content, context, reliability, and meanings.</p>
<p>In what ways was this youngster struggling to make sense of the narrative of events surrounding the assignation? What events in her recounting of the past were based in fact and which were influenced by her imagination? What genres and rhetorical strategies familiar to a child might have influenced the narrative structure of her story? As with adults, reading informs writing. Also consider the issue of motivation. What difference might it have made if the child had been inspired to write this for herself rather than for to satisfy her teacher&rsquo;s civic literacy assignment?</p></div>
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        <h3>Source</h3>
                                    <div class="element-text">&quot;Kenady&#039;s life,&quot; Unpublished manuscript (1963), private collection. Annotated by Miriam Forman-Brunell.</div>
                    </div><!-- end element -->
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                    <div class="element-text-empty">[no text]</div>
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                                    <div class="element-text"><p>In 1960 Kennedy was elected. He is a very good president.  One day as he was going home from some place with the governor and his wife and the driver, Kennedy was told someone would do something now or later if we went in a[n] open car. But Kennedy wanted to be with his people. Someone shot [from] the top of a house. He shot at the governor and Kennedy. He left the gun and ran down the stairs as quick as a mouse. A policeman tried to catch him but the man shot him dead.</p> 

<p>Now everyone new. They rushed to get him to the hospital but it was to late. He was dead. Mrs. Kennedy flew back to Washington D.C. By then the man got into the movies. But the policemen got him because he was standing up</p> 

<p>Chapter 2:</p>

<p>The man’s name was Oswald. They took him to a place to ask him questions. On their way back a man named Ruby shot Oswald dead. They got hold of the man and took him to prison.</p> 

<p>A few days later was Kennedy’s funeral and Kennedy was buried.</p>


<p>The End.</p>
</div>
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                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="item-file image-jpeg"><a class="download-file" href="/files/download/524/fullsize"><img src="/files/display/524/square_thumbnail" class="thumb" alt="JFK&amp;#039;s Assassination [Student Essay]" width="250" height="250"/>
</a></div><div class="item-file image-jpeg"><a class="download-file" href="/files/download/526/fullsize"><img src="/files/display/526/square_thumbnail" class="thumb" alt="JFK&amp;#039;s Assassination [Student Essay]" width="250" height="250"/>
</a></div>]]></description>
      <pubDate>Fri, 22 Nov 2013 13:42:14 +0000</pubDate>
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    <item>
      <title><![CDATA[Cinderella (1914) [Moving Image]]]></title>
      <link>https://cyh.rrchnm.org/items/show/483</link>
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    <h2>Dublin Core</h2>
        <div id="dublin-core-title" class="element">
        <h3>Title</h3>
                                    <div class="element-text"><em>Cinderella</em> (1914) [Moving Image]</div>
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                                    <div class="element-text"><p>Slotted to premier on Christmas week, Famous Players&rsquo;s <em>Cinderella</em> (1914) was marketed as a child-friendly fantasy for the whole family whose cutting-edge cinematography would bring to life the popular fairytale of rags-to-riches girlhood. However, <em>Cinderella</em> was foremost conceived as a vehicle for rising star Mary Pickford. Pickford had built a reputation playing ing&eacute;nues since her early days at Biograph; yet only in 1913 did she cease starring in shorts and graduate to feature-length productions. Set on proving her acting skills, Pickford portrayed Cinderella not as a fictional archetype, but as an everyday adolescent girl from the Progressive-era. The imaginary figure was further humanized by Pickford&rsquo;s trademark warmth and childlike mischief, characteristics clearly displayed in the scenes where she interacts with her evil stepfamily.</p>
<p>The film was also aware of audiences&rsquo; dissatisfaction with trite trick cinematography. For sake of optical wonder, previous versions of <em>Cinderella</em> - such as George M&eacute;li&egrave;s&rsquo;s 1899 protean rendition - had reduced the tale of female transformation to its magical components, consequently evacuating the female protagonist of any psychological depth. In James Kirkwood&rsquo;s five-reeler, however, trick cinematography is used to make visible the adolescent girl&rsquo;s inner world: split-screens show Cinderella wistfully remembering an earlier encounter with the Prince (Pickford&rsquo;s real-life husband, Owen Moore); while double-exposures visualize her horrible nightmare, conjured up in the afterglow of the forbidden ball.</p>
<p>Lastly, <em>Cinderella</em>&rsquo;s box-office success cemented Pickford as &ldquo;America&rsquo;s sweetheart.&rdquo;   However, since <em>Cinderella</em> would be adapted over 30 times throughout the teens, one might question why was Pickford&rsquo;s version the most applauded. Were adolescent girls watching these productions? And did Kirkwood&rsquo;s adaptation of Perrault&rsquo;s fairytale resonate with immigrant girls who could be familiar with European folktales?</p>
<p>Researching movie-goers&rsquo; inquiries, letters, and stars&rsquo; biographies published in trade and fan press from the Teens (such as Moving Picture World and Photoplay) may offer some valuable clues. It may also be helpful to look at other extant versions of <em>Cinderella</em>, such as Thanhouser&rsquo;s (1911), starring another popular young star, Florence LaBadie.</p></div>
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                                    <div class="element-text">James Kirkwood, Director. <em>Cinderella</em>. Los Angeles: Famous Players Film Company, 1914. <a class="external" href="http://archive.org/details/Cinderella1914">http://archive.org/details/Cinderella1914</a> (accessed August 30, 2012).</div>
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                                    <div class="element-text">2012-08-30</div>
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                                    <div class="element-text">Diana Anselmo-Sequeira</div>
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                                    <div class="element-text">51:16</div>
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                    <div class="element-text-empty">[no text]</div>
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        <h3>Director</h3>
                                    <div class="element-text">James Kirkwood</div>
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                    <div class="element-text-empty">[no text]</div>
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                    <div class="element-text-empty">[no text]</div>
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                    <source src="https://cyh.rrchnm.org/archive/files/1914cinderella_9e1d321264.mp4" type="video/mp4" />
                    <source src="https://cyh.rrchnm.org/archive/files/1914cinderella_9e1d321264.ogv" type="video/ogg" />
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      <pubDate>Thu, 07 Mar 2013 17:19:31 +0000</pubDate>
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    <item>
      <title><![CDATA[East Harlem Motion Picture Study [Interview]]]></title>
      <link>https://cyh.rrchnm.org/items/show/482</link>
      <description><![CDATA[<div class="element-set">
    <h2>Dublin Core</h2>
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                                    <div class="element-text">East Harlem Motion Picture Study [Interview]</div>
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        <h3>Description</h3>
                                    <div class="element-text"><p>This is an excerpt from an interview with a male teenager from East Harlem, New York City, taken in a famous Payne Fund Study, the "Motion Picture Study" (MPS). The MPS was undertaken from 1929 to 1934 by sociologists from New York University in the working-class, primarily Italian and Puerto Rican neighborhood of East Harlem. It focused on measuring the supposedly "dangerous" effects of movies on working-class immigrant youth in this neighborhood. This testimony responds to a prompt from a researcher on gangster movies, a film genre that was endlessly cited in 1920s and 1930s elite discourse as the cause of youth "delinquency" and thus in need of careful regulation and intervention by educators. Yet the MPS did not reveal any correspondence between youth's reception of the gangster film (or any other genres) and so-called &ldquo;delinquent&rdquo; behaviors. Instead, East Harlem teenagers documented their use of the gangster film as a significant source of role-play and the creation of a public identity, as the youth demonstrates above in his "Cagney style. " The actor James Cagney's personification of the "tough guy" in <em>Public Enemy</em> (William Wellman, USA, 1931) and later gangster films is universally acknowledged. Cagney was one of the most imitated stars in East Harlem, according to the MPS, suggesting the felt connection between his screen persona and male teenagers' own desire to "act tough" on city streets.</p>
<p>Note that the teenager here, though, makes a distinction between the movie gangster&rsquo;s style and the real gangster's fate in society: "dat's de boloney dey give you in de pitchers. Dey always die or get canned. Dat ain't true." While the movie gangster's <em>style</em> might be worthy of imitation, his <em>story</em> had little purchase for this youth and others in East Harlem, where gangsters "g(o)t away, " ran well-known business establishments, and had important political connections.Extralegal activity was part of the larger social infrastructure. For this community's teenagers, if not for well-meaning middle-class reformers, it was obvious that one's fate was conditioned by the structural forces of their society, and not by the mass media. Cinema had more to do with the here and now. Its sensuous images and brilliant dialogue could be used in teen talk and role-play, rich for creating youth culture outside the world of meddling adults.</p>
<p>This teenager's interview tells a story about teenage reception of mass culture that departs from elite assumptions, begging the question of whether adult hand-wringing over movies and other forms of mass culture at the time was rather a worry about the immigrant teenager him or herself, whose adolescent experiences in work, play, and education misaligned with Anglo-American middle-class mores and expectations. How can current anxieties about the effects of films, television, digital media, and other technology on children and youth be seen to have historical origin? How can these origins help us to separate out our anxieties about media stereotypes and violence &ndash; inarguably things that need careful regulation and adult intervention &ndash; from other ones specific to <em>adulthood</em> today, rooted in our desire to keep children and youth from looking away from us, and to the world of independence and possibility on the screen?</p></div>
                    </div><!-- end element -->
            <div id="dublin-core-creator" class="element">
        <h3>Creator</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-source" class="element">
        <h3>Source</h3>
                                    <div class="element-text">Paul Cressey, &quot;The Community – A Social Setting for the Motion Picture,&quot; Unpublished manuscript (1932), Hoover Institution on War, Revolution and Peace, Motion Picture Research Council, p. 132. Annotated by Lisa M. Rabin.</div>
                    </div><!-- end element -->
            <div id="dublin-core-publisher" class="element">
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    <h2>Document Item Type Metadata</h2>
        <div id="document-item-type-metadata-text" class="element">
        <h3>Text</h3>
                                    <div class="element-text"><p>"Sure I like Little Caesar and Jim Cagney but dat's de boloney dey give you in de pitchers.  Dey always die or get canned. Dat ain't true.  Looka Joe Citro, Pedro Salami, and Tony Vendatta.  Look at de ol' man."</p>  
<p>His father was in the recent Department of Street Cleaning scandal. . .   At one time he owned a cafe and ran a string of brothels.  Now he has interests in an undertaking establishment, a job with the city, a political boss, and runs a joint. . . .  "Dose guys in de pitchers oughta be able to get away.  If my ol' man had de dough he'd run de city."</p>
<p>He prefers pictures "dat show lotta action wid gangsters, bootleggers, and high-jackers.  I ain't going get in Dutch wid de law 'cause I'm gonna get protection before I do anything.  An' I ain't havin' no broads aroun' while dere's work to do.  You can’t trust em' and dey get you in trouble.  If it wasn’t for a broad dey never would get Little Caesar."</p>
<p>He dresses Cagney style.  Soft green hat, tight fitting suit, puff shoulder coat, leather heeled shoes.</p></div>
                    </div><!-- end element -->
            <div id="document-item-type-metadata-related-primary-sources" class="element">
        <h3>Related Primary Sources</h3>
                    <div class="element-text-empty">[no text]</div>
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        </div><!-- end element-set -->]]></description>
      <pubDate>Mon, 14 Nov 2011 01:17:52 +0000</pubDate>
    </item>
    <item>
      <title><![CDATA[Winsor McCay's Little Nemo in Slumberland [Comic Strip]]]></title>
      <link>https://cyh.rrchnm.org/items/show/477</link>
      <description><![CDATA[<div class="element-set">
    <h2>Dublin Core</h2>
        <div id="dublin-core-title" class="element">
        <h3>Title</h3>
                                    <div class="element-text">Winsor McCay&#039;s Little Nemo in Slumberland [Comic Strip]</div>
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                    <div class="element-text-empty">[no text]</div>
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        <h3>Description</h3>
                                    <div class="element-text"><p>A young boy slumbers in his bed, ensconced in a non-descript, middle class bedroom. He is jarred awake to
find his bed floating out his window and into space. So begins an episode of Winsor McCay's epic series,
<em>Little Nemo in Slumberland</em>, which ran in American newspapers from 1905 until 1914. Featured on the
cover of the <em>New York Herald</em>'s Sunday supplement (and syndicated nationwide), the comic strip presented
the bedtime adventures of a boy called Nemo. Each week Nemo attempted to reach the enchanted kingdom
of Slumberland, only to have the journey preempted when he awakened and found himself safely at home
in his bed. The curtailed narrative induced readers to purchase the next installment, teaching its young
audience the pleasures of both fantasy and delayed gratification.</p>

<p>Images glorifying childhood as period of unfettered creativity dominated the visual landscape of early 20th-
century American fiction, magazines, and comics. For McCay, Slumberland was a retreat from modernity;
yet his spectacular landscapes were peppered with allusions to popular culture. References to circus posters
and Coney Island thrill rides abound in his designs. McCay's use of the medium was self-reflexive and
ambivalent: his work articulated the complex ways in which fantasy and mass culture were entangled at the
turn-of-the-century.</p>

<p>This striking image is a potential jumping off point for further discussion of the rapid rise of a mass popular
culture in American cities in the early 20th century. How do the visual design and narrative work together?
What other aspects of the period’s visual culture explored the same themes? Examples can take the form of
children's literature, early film, amusement parks, poster art, advertising, or illustration. In what ways did
popular art forms influence one another at the dawn of mass culture?</p></div>
                    </div><!-- end element -->
            <div id="dublin-core-creator" class="element">
        <h3>Creator</h3>
                    <div class="element-text-empty">[no text]</div>
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        <h3>Source</h3>
                                    <div class="element-text">Winsor McCay, Little Nemo in Slumberland, <em>New York Herald</em>, December 3, 1905. Annotated by Kerry Roeder.</div>
                    </div><!-- end element -->
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                    <div class="element-text-empty">[no text]</div>
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        <h3>Temporal Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
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    <h2>Still Image Item Type Metadata</h2>
        <div id="still-image-item-type-metadata-physical-dimensions" class="element">
        <h3>Physical Dimensions</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
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        <h3>Image Description</h3>
                    <div class="element-text-empty">[no text]</div>
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        </div><!-- end element-set --><div class="item-file image-jpeg"><a class="download-file" href="/files/download/517/fullsize">McCayNemoMoon.jpg</a></div>]]></description>
      <pubDate>Mon, 27 Sep 2010 13:58:59 +0000</pubDate>
      <enclosure url="https://cyh.rrchnm.org/files/download/517/fullsize" type="image/jpeg" length="1732945"/>
    </item>
    <item>
      <title><![CDATA[Incidents in the Life of a Slave Girl  (Slave Narrative)]]></title>
      <link>https://cyh.rrchnm.org/items/show/473</link>
      <description><![CDATA[<div class="element-set">
    <h2>Dublin Core</h2>
        <div id="dublin-core-title" class="element">
        <h3>Title</h3>
                                    <div class="element-text">Incidents in the Life of a Slave Girl  (Slave Narrative)</div>
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            <div id="dublin-core-subject" class="element">
        <h3>Subject</h3>
                    <div class="element-text-empty">[no text]</div>
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        <h3>Description</h3>
                                    <div class="element-text"><p>The book-length narrative, <em>Incidents in the Life of a Slave Girl</em> (1861), chronicles the experiences of Harriet Jacobs who was born a slave in Edenton, North Carolina, in 1813. Harriet was unaware of her slave status until at age six, her mother died and she was sent to live in the house of her mistress. Margaret Horniblow taught Harriet how to read and write in the years before she died and bequeathed the 11-year-old Harriet to her 3-year-old niece, Mary Matilda Norcom. Residing in the Norcom household throughout her adolescence, Harriet endured unremitting sexual harassment from Mary's father, Dr. James Norcom, and became the object of abuse by his jealous wife. Harriet used pseudonyms throughout her narrative as in chapters 5 and 6 in which she described the abuse commonly endured by adolescent girls in the slave south.</p> 
  
<p>In addition to recounting her own experiences as a girl, Jacobs also describes those of numerous other children—black and white, free and unfree, male and female, children and adolescents—including her own. In an attempt to resist her master, Harriet had two children with Samuel Tredwell Sawyer, a young white lawyer. </p> 

<p>Why might Jacobs have emphasized her identity as a "slave girl" and not as a "child" or "woman?" In what ways did Jacobs' description of her lived reality challenge dominant ideals of girlhood in antebellum culture? What purposes might girlhood have served in the formation of broader notions about race, nation, gender, sexuality, and American identity? How did Jacobs' description of herself compare with the depiction of black girls as "pickaninnies" like the devilish Topsy in <em>Uncle Tom's Cabin</em> (1852)? By staking a claim to her innocence did Jacobs appropriate feminine purity from white girls like Stowe's idealized Little Eva, a central figure in the anti-slavery novel that evoked readers' sympathy far and wide? In what ways might Jacob's figure of the slave girl have been useful to the cause of Abolition ardently championed by her editor, Lydia Maria Child, a women's right's supporter, and the author of  <em>The Girl's Own Book</em> (1833)? In what ways might these varied constructions of girlhood have reflected and influenced broader historical changes?</p>
</div>
                    </div><!-- end element -->
            <div id="dublin-core-creator" class="element">
        <h3>Creator</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-source" class="element">
        <h3>Source</h3>
                                    <div class="element-text">Jacobs, Harriet Ann. <em>Incidents in the Life of a Slave Girl Written by Herself.</em>A full-text version is available at Project Gutenberg, <a class="external" href="http://www.gutenberg.org/etext/11030">http://www.gutenberg.org/etext/11030</a> (accessed August 12, 2010). Annotated by Miriam Forman-Brunell.</div>
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                    <div class="element-text-empty">[no text]</div>
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                                    <div class="element-text"><h3>The Trials Of Girlhood (ch 5)</h3>

<p>During the first years of my service in Dr. Flint's family, I was accustomed to share some indulgences with the children of my mistress. Though this seemed to me no more than right, I was grateful for it, and tried to merit the kindness by the faithful discharge of my duties. But I now entered on my fifteenth year--a sad epoch in the life of a slave girl. My master began to whisper foul words in my ear. Young as I was, I could not remain ignorant of their import. I tried to treat them with indifference or contempt. The master's age, my extreme youth, and the fear that his conduct would be reported to my grandmother, made him bear this treatment for many months. He was a crafty man, and resorted to many means to accomplish his purposes. Sometimes he had stormy, terrific ways, that made his victims tremble; sometimes he assumed a gentleness that he thought must surely subdue. Of the two, I preferred his stormy moods, although they left me trembling. He tried his utmost to corrupt the pure principles my grandmother had instilled. He peopled my young mind with unclean images, such as only a vile monster could think of. I turned from him with disgust and hatred. But he was my master. I was compelled to live under the same roof with him--where I saw a man forty years my senior daily violating the
most sacred commandments of nature. He told me I was his property; that I must be subject to his will in all things. My soul revolted against the mean tyranny. But where could I turn for protection? No matter whether the slave girl be as black as ebony or as fair as her mistress. In either case, there is no shadow of law to protect her from insult, from violence, or even from death; all these are inflicted by fiends who bear the shape of men. The mistress, who ought to protect the helpless victim, has no other feelings towards her but those of jealousy and rage. The degradation, the wrongs, the vices, that grow out of slavery, are more than I can describe. They are greater than you would willingly believe. Surely, if you credited one half the truths that are told you concerning the helpless millions suffering in this cruel bondage, you at the north would not help to tighten the yoke. You surely would refuse to do for the master, on your own soil, the mean and cruel work which trained bloodhounds and the lowest class of whites do for him at the south.</p>

<p>Every where the years bring to all enough of sin and sorrow; but in slavery the very dawn of life is darkened by these shadows. Even the little child, who is accustomed to wait on her mistress and her children, will learn, before she is twelve years old, why it is that her mistress hates such and such a one among the slaves. Perhaps the child's own mother is among those hated ones. She listens to violent outbreaks of jealous passion, and cannot help understanding what is the cause. She will become prematurely knowing in evil things. Soon she will learn to tremble when she hears her master's footfall. She will be compelled to realize that she is no longer a child. If God has bestowed beauty upon her, it will prove her greatest curse. That which commands admiration in the white woman only hastens the degradation of the female slave. I know that some are too much brutalized by slavery to feel the humiliation of their position; but many slaves feel it most acutely, and shrink from the memory of it. I cannot tell how much I suffered in the presence of these wrongs, nor how I am still pained by the retrospect. My master met me at every turn, reminding me that I belonged to him, and swearing by heaven and earth that he would compel me to submit to him. If I went out for a breath of fresh air, after a day of unwearied toil, his footsteps dogged me. If I knelt by my mother's grave, his dark
shadow fell on me even there. The light heart which nature had given me became heavy with sad forebodings. The other slaves in my master's house noticed the change. Many of them pitied me; but none dared to ask the cause. They had no need to inquire. They knew too well the guilty practices under that roof; and they were aware that to speak of them was an offence that never went unpunished.</p>

<p>I longed for some one to confide in. I would have given the world to have laid my head on my grandmother's faithful bosom, and told her all my troubles. But Dr. Flint swore he would kill me, if I was not as silent as the grave. Then, although my grandmother was all in all to me, I feared her as well as loved her. I had been accustomed to look up to her with a respect bordering upon awe. I was very young, and felt shamefaced about telling her such impure things, especially as I knew her to be very strict on such subjects. Moreover, she was a woman of a high spirit. She was
usually very quiet in her demeanor; but if her indignation was once roused, it was not very easily quelled. I had been told that she once chased a white gentleman with a loaded pistol, because he insulted one of her daughters. I dreaded the consequences of a violent outbreak; and both pride and fear kept me silent. But though I did not confide in my grandmother, and even evaded her vigilant watchfulness and inquiry, her presence in the neighborhood was some protection to me. Though she had been a slave, Dr. Flint was afraid of her. He dreaded her scorching rebukes. Moreover, she was known and patronized by many people; and he did not wish to have his villany made public. It was lucky for me that I did not live on a distant plantation, but in a town not so large that the inhabitants were ignorant of each other's affairs. Bad as are the laws and customs in a slaveholding community, the doctor, as a professional man, deemed it prudent to keep up some outward show of decency.</p>

<p>O, what days and nights of fear and sorrow that man caused me! Reader, it is not to awaken sympathy for myself that I am telling you truthfully what I  suffered in slavery. I do it to kindle a flame of compassion in your hearts for my sisters who are still in bondage, suffering as I once suffered.</p>

<p>I once saw two beautiful children playing together. One was a fair white child; the other was her slave, and also her sister. When I saw them embracing each other, and heard their joyous laughter, I turned sadly away from the lovely sight. I foresaw the inevitable blight that would fall on the little slave's heart. I knew how soon her laughter would be changed to sighs. The fair child grew up to be a still fairer woman. From childhood to womanhood her pathway was blooming with flowers, and overarched by a sunny sky. Scarcely one day of her life had been clouded when the sun rose on her happy bridal morning.</p>

<p>How had those years dealt with her slave sister, the little playmate of her
childhood? She, also, was very beautiful; but the flowers and sunshine of love were not for her. She drank the cup of sin, and shame, and misery, whereof her persecuted race are compelled to drink.</p>

<p>In view of these things, why are ye silent, ye free men and women of the
north? Why do your tongues falter in maintenance of the right? Would that I had more ability! But my heart is so full, and my pen is so weak! There are noble men and women who plead for us, striving to help those who cannot help themselves. God bless them! God give them strength and courage to go on! God bless those, every where, who are laboring to advance the cause of humanity!</p>



<h3>The Jealous Mistress (ch 6)</h3>


<p>I would ten thousand times rather that my children should be the
half-starved paupers of Ireland than to be the most pampered among the slaves of America. I would rather drudge out my life on a cotton plantation, till the grave opened to give me rest, than to live with an unprincipled master and a jealous mistress. The felon's home in a penitentiary is preferable. He may repent, and turn from the error of his ways, and so find peace; but it is not so with a favorite slave. She is not allowed to have any pride of character. It is deemed a crime in her to wish
to be virtuous.</p>

<p>Mrs. Flint possessed the key to her husband's character before I was born. She might have used this knowledge to counsel and to screen the young and
the innocent among her slaves; but for them she had no sympathy. They were the objects of her constant suspicion and malevolence. She watched her husband with unceasing vigilance; but he was well practised in means to evade it. What he could not find opportunity to say in words he manifested in signs. He invented more than were ever thought of in a deaf and dumb asylum. I let them pass, as if I did not understand what he meant; and many were the curses and threats bestowed on me for my stupidity. One day he caught me teaching myself to write. He frowned, as if he was not well pleased; but I suppose he came to the conclusion that such an
accomplishment might help to advance his favorite scheme. Before long, notes were often slipped into my hand. I would return them, saying, "I can't read them, sir." "Can't you?" he replied; "then I must read them to you." He always finished the reading by asking, "Do you understand?" Sometimes he would complain of the heat of the tea room, and order his supper to be placed on a small table in the piazza. He would seat himself there with a well-satisfied smile, and tell me to stand by and brush away the flies. He would eat very slowly, pausing between the mouthfuls. These intervals were employed in describing the happiness I was so foolishly
throwing away, and in threatening me with the penalty that finally awaited my stubborn disobedience. He boasted much of the forbearance he had exercised towards me, and reminded me that there was a limit to his patience. When I succeeded in avoiding opportunities for him to talk to me at home, I was ordered to come to his office, to do some errand. When there, I was obliged to stand and listen to such language as he saw fit to address to me. Sometimes I so openly expressed my contempt for him that he would become violently enraged, and I wondered why he did not strike me.</p>

<p>Circumstanced as he was, he probably thought it was better policy to be forebearing. But the state of things grew worse and worse daily. In desperation I told him that I must and would apply to my grandmother for protection. He threatened me with death, and worse than death, if I made any complaint to her. Strange to say, I did not despair. I was naturally of a buoyant disposition, and always I had a hope of somehow getting out of his clutches. Like many a poor, simple slave before me, I trusted that some threads of joy would yet be woven into my dark destiny.</p>

<p>I had entered my sixteenth year, and every day it became more apparent that
my presence was intolerable to Mrs. Flint. Angry words frequently passed between her and her husband. He had never punished me himself, and he would not allow any body else to punish me. In that respect, she was never satisfied; but, in her angry moods, no terms were too vile for her to
bestow upon me. Yet I, whom she detested so bitterly, had far more pity for
her than he had, whose duty it was to make her life happy. I never wronged
her, or wished to wrong her, and one word of kindness from her would have
brought me to her feet.</p>

<p>After repeated quarrels between the doctor and his wife, he announced his
intention to take his youngest daughter, then four years old, to sleep in
his apartment. It was necessary that a servant should sleep in the same
room, to be on hand if the child stirred. I was selected for that office,
and informed for what purpose that arrangement had been made. By managing
to keep within sight of people, as much as possible, during the day time, I
had hitherto succeeded in eluding my master, though a razor was often held
to my throat to force me to change this line of policy. At night I slept by
the side of my great aunt, where I felt safe. He was too prudent to come
into her room. She was an old woman, and had been in the family many years.
Moreover, as a married man, and a professional man, he deemed it necessary
to save appearances in some degree. But he resolved to remove the obstacle
in the way of his scheme; and he thought he had planned it so that he
should evade suspicion. He was well aware how much I prized my refuge by
the side of my old aunt, and he determined to dispossess me of it. The
first night the doctor had the little child in his room alone. The next
morning, I was ordered to take my station as nurse the following night. A
kind Providence interposed in my favor. During the day Mrs. Flint heard of
this new arrangement, and a storm followed. I rejoiced to hear it rage.</p>

<p>After a while my mistress sent for me to come to her room. Her first
question was, "Did you know you were to sleep in the doctor's room?"<br />

"Yes, ma'am."<br />

"Who told you?"<br />

"My master."<br />

"Will you answer truly all the questions I ask?"<br />

"Yes, ma'am."<br />

"Tell me, then, as you hope to be forgiven, are you innocent of what I have
accused you?"<br />

"I am."<br />

She handed me a Bible, and said, "Lay your hand on your heart, kiss this
holy book, and swear before God that you tell me the truth."</p>

<p>I took the oath she required, and I did it with a clear conscience.</p>

<p>"You have taken God's holy word to testify your innocence," said she. "If
you have deceived me, beware! Now take this stool, sit down, look me
directly in the face, and tell me all that has passed between your master
and you."</p>

<p>I did as she ordered. As I went on with my account her color changed
frequently, she wept, and sometimes groaned. She spoke in tones so sad,
that I was touched by her grief. The tears came to my eyes; but I was soon
convinced that her emotions arose from anger and wounded pride. She felt
that her marriage vows were desecrated, her dignity insulted; but she had
no compassion for the poor victim of her husband's perfidy. She pitied
herself as a martyr; but she was incapable of feeling for the condition of
shame and misery in which her unfortunate, helpless slave was placed. Yet
perhaps she had some touch of feeling for me; for when the conference was
ended, she spoke kindly, and promised to protect me. I should have been
much comforted by this assurance if I could have had confidence in it; but
my experiences in slavery had filled me with distrust. She was not a very
refined woman, and had not much control over her passions. I was an object
of her jealousy, and, consequently, of her hatred; and I knew I could not
expect kindness or confidence from her under the circumstances in which I
was placed. I could not blame her. Slaveholders' wives feel as other women
would under similar circumstances. The fire of her temper kindled from
small-sparks, and now the flame became so intense that the doctor was
obliged to give up his intended arrangement.</p>

<p>I knew I had ignited the torch, and I expected to suffer for it afterwards;
but I felt too thankful to my mistress for the timely aid she rendered me
to care much about that. She now took me to sleep in a room adjoining her
own. There I was an object of her especial care, though not to her especial
comfort, for she spent many a sleepless night to watch over me. Sometimes I
woke up, and found her bending over me. At other times she whispered in my
ear, as though it was her husband who was speaking to me, and listened to
hear what I would answer. If she startled me, on such occasions, she would
glide stealthily away; and the next morning she would tell me I had been
talking in my sleep, and ask who I was talking to. At last, I began to be
fearful for my life. It had been often threatened; and you can imagine,
better than I can describe, what an unpleasant sensation it must produce to
wake up in the dead of night and find a jealous woman bending over you.
Terrible as this experience was, I had fears that it would give place to
one more terrible.</p>

<p>My mistress grew weary of her vigils; they did not prove satisfactory. She
changed her tactics. She now tried the trick of accusing my master of
crime, in my presence, and gave my name as the author of the accusation. To
my utter astonishment, he replied, "I don't believe it; but if she did
acknowledge it, you tortured her into exposing me." Tortured into exposing
him! Truly, Satan had no difficulty in distinguishing the color of his
soul! I understood his object in making this false representation. It was
to show me that I gained nothing by seeking the protection of my mistress;
that the power was still all in his own hands. I pitied Mrs. Flint. She was
a second wife, many years the junior of her husband; and the hoary-headed
miscreant was enough to try the patience of a wiser and better woman. She
was completely foiled, and knew not how to proceed. She would gladly have
had me flogged for my supposed false oath; but, as I have already stated,
the doctor never allowed any one to whip me. The old sinner was politic.
The application of the lash might have led to remarks that would have
exposed him in the eyes of his children and grandchildren. How often did I
rejoice that I lived in a town where all the inhabitants knew each other!
If I had been on a remote plantation, or lost among the multitude of a
crowded city, I should not be a living woman at this day.</p>

<p>The secrets of slavery are concealed like those of the Inquisition. My
master was, to my knowledge, the father of eleven slaves. But did the
mothers dare to tell who was the father of their children? Did the other
slaves dare to allude to it, except in whispers among themselves? No,
indeed! They knew too well the terrible consequences.</p>

<p>My grandmother could not avoid seeing things which excited her suspicions.
She was uneasy about me, and tried various ways to buy me; but the
never-changing answer was always repeated: "Linda does not belong to _me_.
She is my daughter's property, and I have no legal right to sell her." The
conscientious man! He was too scrupulous to _sell_ me; but he had no
scruples whatever about committing a much greater wrong against the
helpless young girl placed under his guardianship, as his daughter's
property. Sometimes my persecutor would ask me whether I would like to be
sold. I told him I would rather be sold to any body than to lead such a
life as I did. On such occasions he would assume the air of a very injured
individual, and reproach me for my ingratitude. "Did I not take you into
the house, and make you the companion of my own children?" he would say.
"Have _I_ ever treated you like a negro? I have never allowed you to be
punished, not even to please your mistress. And this is the recompense I
get, you ungrateful girl!" I answered that he had reasons of his own for
screening me from punishment, and that the course he pursued made my
mistress hate me and persecute me. If I wept, he would say, "Poor child!
Don't cry! don't cry! I will make peace for you with your mistress. Only
let me arrange matters in my own way. Poor, foolish girl! you don't know
what is for your own good. I would cherish you. I would make a lady of you.
Now go, and think of all I have promised you."</p>

<p>I did think of it.</p>

<p>Reader, I draw no imaginary pictures of southern homes. I am telling you
the plain truth. Yet when victims make their escape from the wild beast of
Slavery, northerners consent to act the part of bloodhounds, and hunt the
poor fugitive back into his den, "full of dead men's bones, and all
uncleanness." Nay, more, they are not only willing, but proud, to give
their daughters in marriage to slaveholders. The poor girls have romantic
notions of a sunny clime, and of the flowering vines that all the year
round shade a happy home. To what disappointments are they destined! The
young wife soon learns that the husband in whose hands she has placed her
happiness pays no regard to his marriage vows. Children of every shade of
complexion play with her own fair babies, and too well she knows that they
are born unto him of his own household. Jealousy and hatred enter the
flowery home, and it is ravaged of its loveliness.</p>

<p>Southern women often marry a man knowing that he is the father of many
little slaves. They do not trouble themselves about it. They regard such
children as property, as marketable as the pigs on the plantation; and it
is seldom that they do not make them aware of this by passing them into the
slave-trader's hands as soon as possible, and thus getting them out of
their sight. I am glad to say there are some honorable exceptions.</p>

<p>I have myself known two southern wives who exhorted their husbands to free
those slaves towards whom they stood in a "parental relation;" and their
request was granted. These husbands blushed before the superior nobleness
of their wives' natures. Though they had only counselled them to do that
which it was their duty to do, it commanded their respect, and rendered
their conduct more exemplary. Concealment was at an end, and confidence
took the place of distrust.</p>

<p>Though this bad institution deadens the moral sense, even in white women,
to a fearful extent, it is not altogether extinct. I have heard southern
ladies say of Mr. Such a one, "He not only thinks it no disgrace to be the
father of those little niggers, but he is not ashamed to call himself their
master. I declare, such things ought not to be tolerated in any decent
society!"</p>
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      <pubDate>Sun, 05 Sep 2010 20:52:47 +0000</pubDate>
    </item>
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      <title><![CDATA[Childhood Obesity in the United States [Map]]]></title>
      <link>https://cyh.rrchnm.org/items/show/449</link>
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                                    <div class="element-text">Childhood Obesity in the United States [Map]</div>
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                                    <div class="element-text"><p>The map, issued by the Center for Disease Control (CDC), shows the percentages of substantially overweight, or obese, low-income children by county and in territories and tribal organizations where Native Americans live. The problem extends to both urban and rural populations.</p>
<p>Overall, 1 in 7 low-income, preschool-aged children is obese. Experts have been alarmed by the rapid rise in childhood obesity during the past 20 years, which is attributed to changes in diet toward more processed foods, less physical activity, and low-income families' lack of access to highly nutritious food. The impact of obesity on life expectancy, increased incidence of diabetes, heart disease and other ailments is reason for its recent prevalence as a public health issue.</p> 
<p>Public attention to decreasing childhood obesity includes efforts to enhance the nutritional balance in school lunches, nutritional education for children and adults, pressuring food corporations to improve labeling and ingredients, and campaigns to increase children's physical activity by reducing time in front of television and computers and restoring daily physical education classes or recess.</p> 

<p>To view a pdf version of the map, click <a class="external" href="http://chnm.gmu.edu/cyh/images/Childhood obesity US map handout.pdf">here.</a></p>
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                                    <div class="element-text">&quot;Obesity and Overweight for Professionals: Childhood: Data: Low-Income, Preschool-Aged Children&quot; | DNPAO | Center for Disease Control, n.d., &lt;a class=&quot;external&quot; href=&quot;http://www.cdc.gov/obesity/childhood/lowincome.html&quot;&gt;http://www.cdc.gov/obesity/childhood/lowincome.html&lt;/a&gt; (accessed June 1, 2010). Annotated by Susan Douglass.</div>
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                    <div class="element-text-empty">[no text]</div>
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        </div><!-- end element-set --><div class="item-file image-jpeg"><a class="download-file" href="/files/download/474/fullsize">childhood obesity map-lg.jpg</a></div>]]></description>
      <pubDate>Mon, 28 Jun 2010 17:47:26 +0000</pubDate>
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    <item>
      <title><![CDATA[How the Aztec (Nahua) Raised Sons as Warriors [Document]]]></title>
      <link>https://cyh.rrchnm.org/items/show/441</link>
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                                    <div class="element-text">How the Aztec (Nahua) Raised Sons as Warriors [Document]</div>
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                                    <div class="element-text"><p>Franciscan friar Bernardino de Sahagún recorded this text in the mid-16th century as part of an effort to gather information about native Aztec history and customs. Sahagún went to Mexico in 1529 as one of the first missionaries assigned to the newly conquered territory of New Spain. He remained there until his death, preaching and instructing youth in Spanish, Latin, science, religion, and music. He acquired mastery of the Aztec language and collected information to help missionaries and government officials convert the indigenous people to Christianity.</p> 
<p>The 12-volume manuscript included text, illustrations, and a grammar of the Aztec language. Completed in 1569, authorities in Spain did not want the work published in New Spain for fear of encouraging the continuation of indigenous practices. It was first published in 1829 as <em>Historia General de las Cosas de Nueva España</em> with an English translation in 1831.</p>
<p>The document illustrates elements in the socialization of boys who were among the nobility, whose way of life and culture by the time of Sahagún had been irrevocably altered by Spanish rule and the influence of the Catholic missionaries. Other passages in this book of the <em>Florentine Codex</em> refer to values such as chastity for boys as well as girls, the civic duties and roles of a ruler, and other personal virtues.</p>
<p>Download the full text of the document as pdf  <a class="external" href="http://chnm.gmu.edu/cyh/images/Handout-How the Aztec Raised Sons as Warriors.pdf">here.</a></p>

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                                    <div class="element-text">Bernardino de Sahagún (translated by Charles E. Dribble and Arthur J.O. Anderson), <em>Florentine Codex: General History of the Things of New Spain</em>, Book 8—Kings and Lords, Chapter 21 (Santa Fe: School of American Research and the University of Utah, 1954), excerpt from pages 75-77. (accessed February 2, 2010). Annotated by Susan Douglass.</div>
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                                    <div class="element-text"><p>And behold how began the life of the young boy. At first, while still a small boy, his hair was shorn. And when he was already ten years old, they then let a tuft of hair grown on the back of his head. And when he was fifteen years old, then the tuft of hair became long. [This was] when he had nowhere taken captives.</p> 
<p>And if he took a captive with the help of others, —perchance doing so with the aid of two, or of three, or four, or of five, or of six, at which point came to an end [the reckoning] that a captive was taken with others' help—then the lock of hair was removed. And this was the division of their captive: in six parts it came. The first, who was the real captor, took his body and one of his thighs—the one with the right foot. And the second who took part [in the capture] took the left thigh. And the third took the right upper arm. The fifth took the right forearm. And as for the sixth, he took the left forearm.</p> 
<p>And when the tuft on the back of his head was removed, he was shorn so that he was left [another] lock: his hair dress kept, on the right side, the hair hanging low, reaching the bottom of his ear; to one side [only] was is lock of hair set. When this [was done], he assumed another face, he appeared otherwise, so that it might be seen that he had made a captive with the help of others [and that] the tuft of hair on the back of his head had been removed.</p>
<p>And then his grandfather, or his beloved uncle, addressed him. He said to him: “My beloved grandson, the sun the lord of the earth, hath washed thy face. You have taken another face; and you have gone to throw yourself against the foe. Let them take you if, without profit, once more you take a captive with the aid of others. What would you be? Would you have a young girl's lock of hair? Take care lest you again take a captive with others' help. Cast yourself against our foes…</p>

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                                    <div class="element-text">442, 443</div>
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        </div><!-- end element-set -->]]></description>
      <pubDate>Wed, 02 Jun 2010 02:56:19 +0000</pubDate>
    </item>
    <item>
      <title><![CDATA[Piegan Play Tipi [Photograph]]]></title>
      <link>https://cyh.rrchnm.org/items/show/406</link>
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    <h2>Dublin Core</h2>
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                                    <div class="element-text">Piegan Play Tipi [Photograph]</div>
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                                    <div class="element-text"><p>The photograph, dated 1928, from the well-known ethnographic collection <em>The North American Indian</em> by Edward Edward S. Curtis, is a portrait of a young Piegan girl standing in front of a painted tipi, or conical tent. The label on the photograph by Curtis indicates that it is a play tipi, meaning a child-sized version of the tents used for families among this Native American group. The tipi, or lodge, is like the larger versions in every way, and is elaborately decorated, giving some indication of the importance given to the girl’s realistic play and replication of adult activity. The Piegan Indians are also known as the Pikuni branch of the Blackfoot Indians, the southernmost tribe belonging to the Blackfoot Confederacy. Their range was the Rocky Mountains area on the southern bank of the Marias River in today’s Montana.</p> </div>
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                                    <div class="element-text">Edward S. Curtis, <em>The North American Indian</em>, volume 18 (Seattle:  E. S. Curtis, 1907-1930), Charles Deering McCormick Library of Special Collections, Northwestern University Library, <a class="external" href="http://memory.loc.gov/award/iencurt/ct18/ct18046v.jpg">http://memory.loc.gov/award/iencurt/ct18/ct18046v.jpg</a> (<a class="external" href="http://memory.loc.gov/award/iencurt/ct18/ct18toc.html">http://memory.loc.gov/award/iencurt/ct18/ct18toc.html</a>) (accessed December 28, 2009). Annotated by Susan Douglass and John Buescher. </div>
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        </div><!-- end element-set --><div class="item-file image-jpeg"><a class="download-file" href="/files/download/522/fullsize"><img src="/files/display/522/square_thumbnail" class="thumb" alt="Piegan Play Tipi [Photograph]" width="250" height="250"/>
</a></div>]]></description>
      <pubDate>Mon, 01 Feb 2010 04:28:08 +0000</pubDate>
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    <item>
      <title><![CDATA[A Narrative of the Life of Mrs. Mary Jemison [Literary Excerpt]]]></title>
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                                    <div class="element-text"><em>A Narrative of the Life of Mrs. Mary Jemison</em> [Literary Excerpt]</div>
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                                    <div class="element-text"><p>In 1753, 15 year old Mary Jemison was captured by Indians along the Pennsylvania frontier during the Seven Years' War between the French, English, and Indian peoples of North America. She was adopted and incorporated into the Senecas, a familiar practice among Iroquois and other Indian peoples seeking to replace a lost sibling or spouse. Mary married and raised a family in the decades before and after the American Revolution; many captives, once adopted and integrated into an Indian community, refused the opportunity to return home, finding life in Indian society more rewarding. In 1823 Mary Jemison related her life story to James Seaver, a doctor who lived near her home in western New York. Seaver's story of "the white woman of the Genessee," as she became known, sold over 100,000 copies in 1824.</p></div>
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                                    <div class="element-text">James E. Seaver, <em>A Narrative of the Life of Mrs. Mary Jemison</em> (Canadaigua, N.Y.: J.D. Bemis, 1824), 43–51.</div>
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                                    <div class="element-text"><p>Having made fast to the shore, the squaws left me in the canoe while they went to their wigwam or house in the town, and returned with a suit of Indian clothing, all new, and very clean and nice. My clothes, though whole and good when I was taken, were now torn in pieces, so that I was almost naked. They first undressed me and threw my rags into the river; then washed me clean and dressed me in the new suit they had just brought, in complete Indian style; and then led me home and seated me in the center of their wigwam.</p>

<p>I had been in that situation hut a few minutes, before all the squaws in the town came in to see me. I was soon surrounded by them, and they immediately set up a most dismal howling, crying bitterly, and wringing their hands in all the agonies of grief for a deceased relative.</p>

<p>Their tears flowed freely, and they exhibited all the signs of real mourning. At the commencement of this scene, one of their number began, in a voice somewhat between speaking and singing, to recite some words to the following purport, and continued the recitation till the ceremony was ended; the company at the same time varying the appearance of their countenances, gestures and tune of voice, so as to correspond with the sentiments expressed by their leader:</p>

<p>"Oh our brother! Alas! He is dead—he has gone; he will never return! Friendless he died on the field of the slain, where his bones are yet lying un-buried! Oh, who will not mourn his sad fate? No tears dropped around him; oh, no! No tears of his sisters were there! He fell in his prune, when his arm was most needed to keep us from danger! Alas! he has gone! and left us in sorrow, his loss to bewail: Oh where is his spirit? His spirit went naked, and hungry it wanders, and thirsty and wounded it groans to return! Oh helpless and wretched, our brother has gone! No blanket nor food to nourish and warm him; nor candles to light him, nor weapons of war:—Oh, none of those comforts had he! But well we remember his deeds! —The deer he could take on the chase! The panther shrunk back at the sight of his strength! His enemies fell at his feet! He was brave and courageous in war! As the fawn he was harmless: his friendship was ardent: his temper was gentle: his pity was great! Oh! our friend, our companion is dead! Our brother, our brother, alas! he is gone! But why do we grieve for his loss? In the strength of a warrior, undaunted he left us, to fight by the side of the Chiefs! His war-whoop was shrill! His rifle well aimed laid his enemies low: his tomahawk drank of their blood: and his knife flayed their scalps while yet covered with gore! And why do we mourn? Though he fell on the field of the slain, with glory he fell, and his spirit went up to the land of his fathers in war! Then why do we mourn? With transports of joy they received him, and fed him, and clothed him, and welcomed him there! Oh friends, he is happy; then dry up your tears! His spirit has seen our distress, and sent us a helper whom with pleasure we greet. Dickewamis has come: then let us receive her with joy! She is handsome and pleasant! Oh! she is our sister, and gladly we welcome her here. In the place of our brother she stands in our tribe. With care we will guard her from trouble; and may she be happy till her spirit shall leave us."</p>

<p>In the course of that ceremony, from mourning they became serene—joy sparkled in their countenances, and they seemed to rejoice over me as over a long-lost child. I was made welcome amongst them as a sister to the two squaws before mentioned, and was called Dickewamis; which being interpreted, signifies a pretty girl, a handsome girl, or a pleasant, good thing. That is the name by which I have ever since been called by the Indians.</p>

<p>I afterwards learned that the ceremony I at that time passed through, was that of adoption. The two squaws had lost a brother in Washington's war, sometime in the year before, and in consequence of his death went up to Fort Pitt, on the day on which I arrived there, in order to receive a prisoner or oil enemy's scalp, to supply their loss. It is a custom of the Indians, when one of their number is slain or taken prisoner in battle, to give to the nearest relative to the dead or absent, a prisoner, if they have chanced to take one, and if not, to give him the scalp of an enemy. On the return of the Indians from conquest, which is always announced by peculiar shoutings, demonstrations of joy, and the exhibition of some trophy of victory, the mourners come forward and make their claims. If they receive a prisoner, it is at their option either to satiate their vengeance by taking his life in the most cruel manner they can conceive of; or, to receive and adopt him into the family, in the place of him whom they have lost. All the prisoners that are taken in battle and carried to the encampment or town by the Indians, are given to the bereaved families, till their number is made good. And unless the mourners have but just received the news of their bereavement, and are under the operation of a paroxysm of grief, anger and revenge; or, unless the prisoner is very old, sickly, or homely, they generally save him, and treat him kindly. But if their mental wound is fresh, their loss so great that they deem it irreparable, or if their prisoner or prisoners do not meet their approbation, no torture, let it be ever so cruel, seems sufficient to make them satisfaction. It is family, and not national, sacrifices amongst the Indians, that has given them an indelible stamp as barbarians, and identified their character with the idea which is generally formed of unfeeling ferocity, and the most abandoned cruelty.</p>

<p>It was my happy lot to be accepted for adoption: and at the time of the ceremony I was received by the two squaws, to supply tile place of their mother in the family; and I was ever considered and treated by them as a real sister, the same as though I had been horn of their mother.</p>

<p>During my adoption, I sat motionless, nearly terrified to death at the appearance and actions of the company, expecting every moment to feel their vengeance, and suffer death on the spot. I was, however, happily disappointed, when at the close of the ceremony the company retired, and my sisters went about employing every means for my consolation and comfort.</p>

<p>Being now settled and provided with a home, I was employed in nursing the children, and doing light work about the house. Occasionally I was sent out with the Indian hunters, when they went but a short distance, to help them carry their game. My situation was easy; I had no particular hardships to endure. But still, the recollection of my parents, my brothers and sisters, my home, and my own captivity, destroyed my happiness, and made me constantly solitary, lonesome and gloomy.</p>

<p>My sisters would not allow me to speak English in their hearing; but remembering the charge that my dear mother gave me at the time I left her, whenever I chanced to he alone I made a business of repeating my prayer, catechism, or something I had learned in order that I might not forget my own language. By practising in that way I retained it till t came to Genesee flats, where I soon became acquainted with English people with whom I have been almost daily in the habit of conversing.</p>

<p>My sisters were diligent in teaching me their language; and to their great satisfaction I soon learned so that I could understand it readily, and speak it fluently. I was very fortunate in falling into their hands; for they were kind good natured women; peaceable and mild in their dispositions; temperate and decent in their habits, and very tender and gentle toward me. I have great reason to respect them, though they have been dead a great number of years.</p>

<p>The town where they lived was pleasantly situated on the Ohio, at the mouth of the Shenanjee: the land produced good corn; the woods furnished plenty of game, and the waters abounded with fish. Another river emptied itself into the Ohio, directly opposite the mouth of the Shenanjee. We spent the summer at that place, where we planted, hoed, and harvested a large crop of corn, of an excellent quality.</p>

<p>About the time of corn harvest, Fort Pitt was taken from the French by the English.</p>

<p>The corn being harvested, the Indians took it on horses and in canoes, and proceeded down the Ohio, occasionally stopping to hunt a few days, till we arrived at the mouth of Sciota river; where they established their winter quarters, and continued hunting till the ensuing spring, in the adjacent wilderness. While at that place I went with the other children to assist the hunters to bring in their game. The forests on the Sciota were well stocked with elk, deer, and other large animals; and the marshes contained large numbers of beaver, muskrat, etc., which made excellent hunting for the Indians; who depended, for their meat, upon their success in taking elk and deer; and for ammunition and clothing, upon the beaver, muskrat, and other furs that they could take in addition to their peltry.</p>

<p>The season for hunting being passed, we all returned in the spring to the mouth of the river Shenanjee to the houses and fields we had left in the fall before. There we again planted our corn, squashes, and beans, on the fields that we occupied the preceding summer.</p>

<p>About planting time, our Indians all went up to Fort Pitt, to make peace with the British, and took me with them. We landed on the opposite side of the river from the fort, and encamped for the night. Early the next morning the Indians took me over to the fort to see the white people that were there. It was then that my heart bounded to be liberated from the Indians and to he restored to my friends and my country. The white people were surprised to see me with the Indians, enduring the hardships of a savage life, at so early an age, and with so delicate a constitution as t appeared to possess. They asked me my name; where and when I was taken—and appeared very much interested on my behalf. They were continuing their inquiries, when my sisters became alarmed, believing that I should be taken from them, hurried me into their canoe and recrossed the river—took their bread out of the fire and fled with me, without stopping, till they arrived at the river Shenanjee. So great was their fear of losing me, or of my being given up in the treaty, that they never once stopped rowing till they got home.</p>

<p>Shortly after we left the shore opposite the fort, as I was informed by one of my Indian brothers, the white people came over to take me back; but alter considerable inquiry, and having made diligent search to find where I was hid, they returned with heavy hearts. Although I had then been with the Indians something over a year, and had become considerably habituated to their mode of living, and attached to my sisters, the sight of white people who could speak English inspired me with an unspeakable anxiety to go home with them, and share in the blessings of civilization. My sudden departure and escape from them, seemed like a second captivity, and for a long time I brooded the thoughts of my miserable situation with almost as much sorrow and dejection as t had done those of my first sufferings. Time, the destroyer of every affection, wore away my unpleasant feelings, and I became as contented as before.</p></div>
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      <pubDate>Mon, 18 Jan 2010 03:17:50 +0000</pubDate>
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      <title><![CDATA[Charlotte Temple: A Tale of Truth (1791) [Literary Excerpt]]]></title>
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                                    <div class="element-text"><em>Charlotte Temple: A Tale of Truth</em> (1791) [Literary Excerpt]</div>
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                                    <div class="element-text"><p><em>Charlotte Temple: A Tale of Truth</em>, published in 1791, was the first American bestseller. The author, Susanna Haswell Rowson, was born in England circa 1762, and died in 1824 in Massachusetts, where she spent most of her life. Charlotte Temple tells the story of a young English girl who is lured away from her school by an army officer, Montraville. On board ship to his posting in revolutionary-era New York, Montraville seduces Charlotte. Once in New York, Montraville gradually abandons the "ruined" Charlotte who, after a downward spiral into remorse, illness, poverty, and the birth of a child, dies. Seduction novels were popular in the 18th century, and the widely read Charlotte Temple went through more than 200 editions. But Rowson, who despite her childhood as the daughter of an English revenue officer became a committed republican, used her novel to protest the sexual double standard that ruined the lives of women like Charlotte.</p> </div>
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                                    <div class="element-text">Susanna Haswell Rowson, <em>Charlotte Temple: A Tale of Truth</em>, ed. Francis W. Halsey (Philadelphia: Matthew Carey, 1794; repr., New York: Funk and Wagnalls Co., 1905), vol.2, pp.3–10.</div>
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                                    <div class="element-text"><p><strong>CHAPTER 18 REFLECTIONS</strong> "And am I indeed fallen so low," said Charlotte, "as to be only pitied? Will the voice of approbation no more meet my ear? and shall I never again possess a friend, whose face will wear a smile of joy whenever I approach? Alas! how thoughtless, how dreadfully imprudent have I been! I know not which is most painful to endure, the sneer of contempt, or the glance of compassion, which is depicted in the various countenances of my own sex: they are both equally humiliating. Ah! my dear parents, could you now see the child of your affections, the daughter whom you so dearly loved, a poor solitary being, without society, here wearing out her heavy hours in deep regret and anguish of heart, no kind friend of her own sex to whom she can unbosom her griefs, no beloved mother, no woman of character will appear in my company, and low as your Charlotte is fallen, she cannot associate with infamy."</p>

<p>These were the painful reflections which occupied the mind of Charlotte. Montraville had placed her in a small house a few miles from New-York: he gave her one female attendant, and supplied her with what money she wanted; but business and pleasure so entirely occupied his time, that he had little to devote to the woman, whom he had brought from all her connections, and robbed of innocence. Sometimes, indeed, he would steal out at the close of evening, and pass a few hours with her; and then so much was she attached to him, that all her sorrows were forgotten while blest with his society: she would enjoy a walk by moonlight, or sit by him in a little arbour at the bottom of the garden, and play on the harp, accompanying it with her plaintive, harmonious voice. But often, very often, did he promise to renew his visits, and, forgetful of his promise, leave her to mourn her disappointment. What painful hours of expectation would she pass! She would sit at a window which looked toward a field he used to cross, counting the minutes, and straining her eyes to catch the first glimpse of his person, till blinded with tears of disappointment, she would lean her head on her hands, and give free vent to her sorrows: then catching at some new hope, she would again renew her watchful position, till the shades of evening enveloped every object in a dusky cloud: she would then renew her complaints, and, with a heart bursting with disappointed love and wounded sensibility, retire to a bed which remorse had strewed with thorns, and court in vain that comforter of weary nature (who seldom visits the unhappy) to come and steep her senses in oblivion.</p>

<p>Who can form an adequate idea of the sorrow that preyed upon the mind of Charlotte? The wife, whose breast glows with affection to her husband, and who in return meets only indifference, can but faintly conceive her anguish. Dreadfully painful is the situation of such a woman, but she has many comforts of which our poor Charlotte was deprived. The duteous, faithful wife, though treated with indifference, has one solid pleasure within her own bosom, she can reflect that she has not deserved neglect—that she has ever fulfilled the duties of her station with the strictest exactness; she may hope, by constant assiduity and unremitted attention, to recall her wanderer, and be doubly happy in his returning affection; she knows he cannot leave her to unite himself to another: he cannot cast her out to poverty and contempt. She looks around her, and sees the smile of friendly welcome, or the tear of affectionate consolation, on the face of every person whom she favours with her esteem; and from all these circumstances she gathers comfort: but the poor girl by thoughtless passion led astray, who, in parting with her honour, has forfeited the esteem of the very man to whom she has sacrificed every thing dear and valuable in life, feels his indifference in the fruit of her own folly, and laments her want of power to recall his lost affection; she knows there is no tie but honour, and that, in a man who has been guilty of seduction, is but very feeble: he may leave her in a moment to shame and want; he may marry and forsake her for ever; and should he, she has no redress, no friendly, soothing companion to pour into her wounded mind the balm of consolation, no benevolent hand to lead her back to the path of rectitude; she has disgraced her friends, forfeited the good opinion of the world, and undone herself; she feels herself a poor solitary being in the midst of surrounding multitudes; shame bows her to the earth, remorse tears her distracted mind, and guilt, poverty, and disease close the dreadful scene: she sinks unnoticed to oblivion. The finger of contempt may point out to some passing daughter of youthful mirth, the humble bed where lies this frail sister of mortality; and will she, in the unbounded gaiety of her heart, exult in her own unblemished fame, and triumph over the silent ashes of the dead? Oh no! has she a heart of sensibility, she will stop, and thus address the unhappy victim of folly—</p>

<p>"Thou had'st thy faults, but sure thy sufferings have expiated them: thy errors brought thee to an early grave; but thou wert a fellow-creature—thou hast been unhappy—then be those errors forgotten."</p>

<p>Then, as she stoops to pluck the noxious weed from off the sod, a tear will fall, and consecrate the spot to Charity.</p>

<p>For ever honoured be the sacred drop of humanity; the angel of mercy shall record its source, and the soul from whence it sprang shall be immortal.</p>

<p>My dear Madam, contract not your brow into a frown of disapprobation. I mean not to extenuate the faults of those unhappy women who fall victims to guilt and folly; but surely, when we reflect how many errors we are ourselves subject to, how many secret faults lie hid in the recesses of our hearts, which we should blush to have brought into open day (and yet those faults require the lenity and pity of a benevolent judge, or awful would be our prospect of futurity) I say, my dear Madam, when we consider this, we surely may pity the faults of others.</p>

<p>Believe me, many an unfortunate female, who has once strayed into the thorny paths of vice, would gladly return to virtue, was any generous friend to endeavour to raise and re-assure her; but alas! it cannot be, you say; the world would deride and scoff. Then let me tell you, Madam, 'tis a very unfeeling world, and does not deserve half the blessings which a bountiful Providence showers upon it.</p>

<p>Oh, thou benevolent giver of all good! how shall we erring mortals dare to look up to thy mercy in the great day of retribution, if we now uncharitably refuse to overlook the errors, or alleviate the miseries, of our fellow-creatures!</p> </div>
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      <pubDate>Mon, 18 Jan 2010 02:38:03 +0000</pubDate>
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