Thursday, February 28, 2008

Happy Mother's Day

from 5/16/06 from pseudo-intellectualism

That's my mother, Eva, circa 1945. Quite a beauty. There's nothing like a mother for providing unconditional love, an element that's in very short supply. Mrs. Watson is a great mother to her 5th graders and a real treat to work with. Smart, black and proud and politically astute. She still calls me "Sir." Her kids participated in Peace By Peace festival sponsored by Columbia University.Here they are in a slide show with pics from the festival and here's a "podcast" of our first installment of our "Dave At Night" project.

The Hebrew Home For Boys

from 5/8/06 from pseudo-intellectualism

When Dave Caros' father dies in "Dave At Night" he is sent to live at the Hebrew Home For Boys in Harlem. This institution existed on 136th Street, between Broadway and Amsterdam until the 1930's. I couldn't find any pictures of it online. I wanted to get some images of the area to show the classes involved in the les/harlem project that I envisioned. I decided to combine some atmospheric sound with the images, but came up a bit short. So in this slide show I augmented that soundtrack with some reggaetone music. I hadn't been in that area much (CCNY takes up a big part) in my life, other some PS 397K era trips to 142nd Street and Hamilton Place (The Children's Art Carnival). The Convent and Edgecombe Ave areas were beautiful. I had thought that the latin area of west Harlem started further uptown than the 130's. The dividing line between latin and African-American Harlem seemed to be CCNY and St Nicholas Park. Amazingly, the exact location of the Home was discovered when I was researching the Jacob Schiff School, which is unique in that you have to climb a hill to reach it from its 136th Street side. Here's what I found on the nycparks dept site:"This parkland, which is shared by Public School 192, also known as Jacob H. Schiff School, was once home to the Hebrew Orphan Asylum. By World War II, the orphan asylum closed and was transformed into army barracks. Shortly after the war, City College acquired the building for use as a classroom and dormitory, naming it “Army Hall.” The building eventually closed in 1952 and was demolished when Parks and the Board of Education jointly acquired the land in 1956. In 1987, the Schiff School playground received a $918,623 renovation and was officially named Jacob H. Schiff Playground

Dave At Night

from 1/13/06 from pseudo-intellectualism

The main character of this book attends PS42 on Hester Street. Here's a portion of the review: "In Dave at Night, Newbery Honor award– winning author Gail Carson Levine brilliantly describes in gritty detail an orphan’s journey from loss to fulfillment. Fans of her previous novel, Ella Enchanted, might be surprised at Gail Carson Levine's departure from the world of fantasy with her realistic new book, Dave at Night. Inspired by Ms. Levine's father's experience in the Hebrew Orphan Asylum in New York, this is the story of eleven-year-old Dave Caros. The year is 1926. Dave’s beloved father is dead, and his stepmother doesn’t want him. Only the HHB will take him in. Hebrew Home for Boys, aka Hell Hole for Brats. Dave is tough, a troublemaker. He can take care of himself. If he doesn’t like the Home, he’ll run away and find a better place. Only it’s not that simple. . . .This stunning new novel by Newbery Honor award–winning author Gail Carson Levine takes Dave from the poverty of the Lower East Side of New York City to the misery of the Hebrew Home for Boys to the hope and magic of Harlem during the Harlem Renaissance. It tells a tale of terrible loss and hard-won gains, of cruel relations and kind strangers, of great poverty and great wealth. Most of all, though, it tells a tale about the power of friendship." Here's the first few chapters as a slide show. I'm on my way to whole book. What's great about this book is that it has an audio version. Here's a segment as an mp3.

Panoramic Movie Of Amsterdam Ave And 137th-138th Street

A panoramic scene connecting (look for the hot spots) the middle of the CCNY campus to (West) Amsterdam Avenue, between 137th and 138th Street. The public school park was once the site of the Hebrew Home for the Boys. It was that home that played an integral part in Gail Carson Levine's wonderful kids' historical fiction book called "Dave At Night."

Walking My Baby Back Home


The previous post about the movie "Boycott" and its use of Nat King Cole's song reminded me of this:from 5/16/06 from pseudo-intellectualism but with google video version above, and a larger, more visible one still linked

On one of Dave Caros' escapades in 1920 Harlem took him to the home of D'Lelia Walker ( Odelia Packer in the book, "Dave At Night").The map shows how far he ventured. Actually in the book, Odelia's chauffeur drove Dave and his fake Grandpa Solly there. Dave was in love with Odelia's daughter, Irma Lee. While at the mansion he met the great Harlem Renaissance artist Aaron Douglas. This was an inspiration for Dave's budding art career. In life imitating "art", Gail Carson Levine's father would later become a successful commercial artist and Gail and her sister have artistic skills as well. Here's a slide show I put together about the Walker's with selected images from a great resource, the book "Harlem Lost and Found." The music is Noble Sissle's 1920 era "Camp Meeting Blues." Here's part of an interview that D'lelia's great grandaughter, A'lelia Bundles, did with with Jerry jazz on this site: JJM: As an introduction to Madam C.J. Walker -- your great great grandmother -- the writer Ishmael Reed wrote, "Madam Walker is the key to understanding her generation. She had to battle the society who had consigned her to doing its laundry, yet she triumphed to become one of the most fabulous African American figures of the twentieth century." Madam Walker, born Sarah Breedlove, was orphaned at a very early age. What characteristics did she possess that allowed her to turn her vulnerability as an orphan into resolve and resilience? AB: One explanation is that she was a genius. In every generation there are geniuses like Henry Ford or Bill Gates or Andrew Carnegie, so let's use that characterization as the headline. In addition, she was a very resilient child. There are many children of poverty who overcome very difficult circumstances, and in a family where everyone doesn't succeed, sometimes there are children who possess the resilience necessary to turn the difficulties into positives. Because she had so much loss in the early part of her life -- including the death of her parents -- rather than being beaten down by it, it made her a fighter."

Wednesday, February 27, 2008

Lost Village Of Central Park


A real smorgasbord of a post here. The pictures are a combination of the current Seneca Site
located between 82nd and 89th Streets and Seventh and Eighth Avenues (closest cross street now being Central Park West) and images from an historical fiction story about the village called, "The Lost Village Of Central Park." The current images show scientists and their students doing a Geoarchaeological study

One of the main questions we have asked about Seneca Village is whether or not archaeological traces of it survived the creation of the romantic landscape of Central Park and still exist in the park today. As archaeologists we know that we could find out a lot about the lifeways of the people who lived in Seneca Village by studying the artifacts they left behind. But the workers who made the park in the 1850s and 1860s moved a lot of dirt. In some cases they made the ground higher by bringing in landfill; in others they made the ground lower by grading soil away; and in others still they left the soil relatively intact. If they graded soil away, they destroyed any archaeological site that might have been there. But if they brought in landfill and deposited it on top of the natural soil, or if they left the natural soil undisturbed, then the Seneca Village archaeological site could still exist. So we needed to find out about the soils in the village area to find out if the site was still there.

The music is Steal Away from the Fisk Jubilee Singers
CHORUS:
Steal away, steal away, steal away to Jesus!
Steal away, steal away home, I hain’t got long to stay here.
My Lord calls me, he calls me by the thunder;
The trumpet sounds it in my soul,
I hain’t got long to stay here.
CHORUS
Green trees are bending, poor sinners stand trembling;
The trumpet sounds it in my soul,
I hain’t got long to stay here.
CHORUS
My Lord calls me, he calls me by the lightning;
The trumpet sounds it in my soul,
I hain’t got long to stay here.
CHORUS
Tombstones are bursting, poor sinners stand trembling;
The trumpet sounds it in my soul.
I hain’t got long to stay here

About the book from an amazon reviewer
Grade 3-5-A gripping story with historical background seamlessly integrated throughout. The title refers to Seneca Village, the African-American and immigrant settlement that once existed in what is now New York City's Central Park. Unique in its place in American history, this racially mixed community was characterized by harmony from its beginnings in the 19th century. Sooncy Taylor is an African-American girl who lives with her parents on land they own in Seneca Village. Her family befriends recent Irish immigrants, the McBeans, who have a daughter, Kayla, about her age. Sooncy attends Colored School #3 while Kayla is a servant in a neighboring wealthy community and can only attend church school on Sundays. Returning home one evening after running errands together, the girls encounter two slave catchers who are pursuing escaped slaves that they believe are hidden in the village. Kayla comes to realize that the residents shelter fugitives and that she wants to help, while Sooncy becomes aware that she is vulnerable to slave catchers even though she has always been free. In the end, the villagers band together to run the slave catchers out of town and successfully pass the fugitives on to the next station. Killcoyne creates a dynamic world in which readers can experience the characters' growth as their interests expand beyond their immediate environment. Unfortunately, the illustrations detract from the overall attractiveness of the novel; they are awkwardly conceived and confusing.

John Henry

Tuesday, February 26, 2008

Martin's Big Words


from amazon

This picture-book biography provides an ideal introduction to this leader and his works. Juxtaposing original text with quotes from King's writing and speeches, Rappaport's (Escape from Slavery) narrative offers a pastiche of scenes from King's life, beginning with his childhood experience of seeing "White Only" signs sprinkled throughout his hometown. He questions his mother about their meaning, and she assures him, "You are as good as anyone." Listening to his father preach, the boy asserts that "When I grow up, I'm going to get big words, too." Rappaport also touches upon King's role in the Montgomery bus strike that followed Rosa Park's 1955 arrest for refusing to give up her seat to a white passenger and his subsequent efforts as a civil rights crusader. After briefly describing the circumstances of his death, the story concludes, quite abruptly, with the statement, "His big words are alive for us today." The author relies on her subject's own words, and his power, passion and pacifism shine through. Collier's (Uptown) striking watercolor and cut paper collage art feature closely focused, lifelike images of King and other individuals against an inventive montage of patterns and textures. The portraits of King exude his spiritual strength and peaceful visage. In the background of some scenes are intricate recreations of stained glass windows, which, Collier explains in an introductory note, he interprets as a metaphor for King's life. An elegant, understated pictorial biography. Ages 5-9.

Sunday, February 24, 2008

Pee Wee Reese And Jackie Robinson


the audio is from an npr broadcast of Sept. 28, 2001 images of Pee Wee Reese and Jackie Robinson and some of their teammates, including the racist Dixie Walker. Also a few scans of the children's book "Teammates," by Peter Golenbock that are relevant to the story. In the book version, however, Pee Wee refuses to sign the petition. Note in the team picture of 1947, Dixie has his head turned on purpose to show his displeasure of being Jackie's teammate. Branch Rickey would have him traded soon afterwards to Pittsburgh.

The year was 1947, and Jackie Robinson, baseball's first African-American player, was being unmercifully taunted by fans and opponents in Cincinnati's Crosley Field. Sickened by what he was hearing, my father walked from his shortstop position and draped his arm around his teammate. The simple gesture not only stopped the racial razzing that day, but it sent a profound message throughout baseball and the nation.
Remember, this was eight years before Rosa Parks refused to give up her seat on a bus to a white man. A public show of support between a white southerner and black man was unprecedented in 1947.
Long before terrorism had entered the American lexicon, another ism -- racism -- was the shadowy enemy that threatened to tear this country apart from within.
So there we were, looking at the statuettes, thinking of a different era when an unexpected visitor entered. The windows rattled and our souls shuddered -- terrorism arrived in a horrifying manner.
We now know the terrorists are trying to tear our county apart from the inside out. "Freedom and fear," said President Bush, "are at war." In some cases, that fear has provoked racism against American Muslims. Where does that leave freedom?
In 1947, these freedoms were tested when my father's teammate and best friend Dixie Walker circulated a petition that tried to bar all black players from Major League Baseball. And anyone who supported Robinson, Walker warned, also would be chased out of the game. At first, my father gave in to his fears, and supported the petition.
But in 1999, the year my father died, he told me he had learned an important lesson that trying day in Cincinnati: Don't give in to your fears. When the first World Trade Center tower crumbled like a house of glass, I held my mother close. I wanted to keep her from being trampled to death or pelted by debris. We ran into a neighboring building as fast as my mother's 79-year old legs would allow. In the dark of a bomb shelter, mom turned to me and said, 'I'm just glad your father isn't here to see this.'
At that moment, I couldn't help but think about those miniature bronze statuettes that had been left behind to fend for themselves at city hall. Amid the debris and dismay they represent courage, determination, and teamwork -- something we as Americans have been seeing a lot of lately. So I turned to my mother and said, 'No, mom, something tells me Pee Wee is here with us. And so is Jackie. Because we need their courage now more than ever.' My mother bravely smiled and nodded in agreement.
Mark Reese is a Los Angeles-based documentary film maker and writer. He and his mother were within a few blocks of the World Trade Center on the morning of Sept. 11.

Saturday, February 23, 2008

Negro League Scrapbook: Lesson Plan

Pictured are the 2006 Hall Of Fame inductees that Carol Boston Weathrford mentions in the previous post: Effa Manley, Jose Mendez and Biz Mackey
The lesson plan from Carole's site

LESSON PLAN A Negro League Scrapbook by Carole Weatherford Boyds Mills Press, 2005 Vocabulary
segregation, barnstorm, clown teams, color barrier
Discussion Questions
1. How did Negro League players feel about being barred from the major leagues?
2. How did the retired Negro League players feel when the major leagues began signing black players?
3. Who were the greatest Negro League players?
Activities
1. Create names for pitches like Satchel Paige did.
2. Draw a Hall of Fame plaque for a Negro League player.
3. Design a poster for a Negro League game.
4. Write road diary for a Negro League player on a barnstorming team.
5. Learn about baseball statistics.http://www.pbs.org/kenburns/baseball/teachers/lesson1.html
6. Study newspaper, radio and TV sports reports to find synonyms for "defeat." List those synonyms.
7. During segregation, African-Americans were barred from many restaurants. Thus, when Negro League teams traveled they dined in black-owned restaurants, residents’ homes or on team buses. What types of foods might they have prepared and eaten on the bus? Write a menu and recipes for a meal that does not have to be heated or refrigerated. You may include canned foods and staples. Remember that many convenience foods used today were not available in the first half of the 20th century.
Online Resources
Negro League Baseball Players Association and Museum www.nlbpa.org

Carol Boston Weatherford: Negro League Scrapbook


from February 28, 2006 from npr

The Baseball Hall of Fame announces 17 of its newest members, all associated with The Negro League and Pre-Negro League. Commentator Carole Boston Weatherford remembers some of the leagues achievements. Weatherford is the author of A Negro League Scrapbook.

mixed in with the pictures are former Brooklyn (LA) Dodgers, Roy Campenella, Jim "Junior" Gilliam and Joe Black
Baltimore Elite Giants
Thomas T. Wilson helped to form the semi-pro Nashville Standard Giants in 1918 and guided them to build a strong reputation throughout the South.
In 1921, the club was renamed the Elite Giants as the team’s success and popularity continued to grow.
By 1928, Wilson was ready to move his Elite Giants into the national arena and made several attempts to gain entry into the Negro National League and the Southern Negro League, the two leagues of the time.
In 1930, Wilson had the opportunity to join the Negro National League. Unfortunately, the league disbanded the following year but Wilson kept his team alive by joining the Southern Negro League in the 1932 season.
The Negro National League was reincarnated in 1933 and the Elite Giants rejoined the league for two additional seasons in 1933-34. Due to a declining economy, Wilson was forced to move the club to Columbus (1935), then Washington (1936-37), and Baltimore (1938-47)
Their nickname is pronounced "EE-light" with a Southern twang. They migrated from Nashville to Columbus, Ohio to Washington D.C. and finally Baltimore in 1938. They won the Negro National Title in 1939 and 1949. The Elite Giants gave Joe Black, Junior Gilliam and Hall of Fame catcher Roy Campanella their initial exposure to professional baseball before becoming bums with the Brooklyn Dodgers. The 1942 season was the best-ever for the club when they posted a 37-15 record, tops in the Negro National League.
During the team's career the Homestead Grays were the dominant team. The Elites would play them every year and finally in 1939 the Elites claimed the championship, beating the Grays in a four-team post season tournament. In 1948 the league folded. In 1949, after the league had been reconstructed and under the new management of Lennie Pearson, the Elites won the Eastern Division and Western Division. In 1946 Tom Wilson sold the franchise due to health problems. In 1950 after the team got second place in the East, while suffering financial problems, the team was sold to William Bridgeforth for $11,000. The team returned to Nashville for a final season, and subsequently was dissolved.

Friday, February 22, 2008

We Are the Ship: The Story of Negro League Baseball, By Kadir Nelson


I bought this book recently. A great story and the illustrations are incredible.
The audio is from an NPR broadcast of 1/29/08 . The first four images in the slide show are from the book, then there's a grouping of Josh Gibson and finally an assortment of Negro League memorabilia

The vivid, detailed and realistic pictures in a new book for children transport readers to the past and the world of baseball's Negro Leagues.
Award-winning artist Kadir Nelson wrote and illustrated the book, We Are the Ship: The Story of Negro League Baseball, which is his first as an author.
The project took Nelson nearly eight years to complete.
"It started off as a few paintings and then it grew into more than 40 paintings," Nelson tells Michele Norris.
Each painting required a tremendous amount of research. Nelson read a number of books about the Negro Leagues and interviewed former players, including Walt McCoy, who lives in San Diego, as does Nelson.
"It helps a lot to hear the history directly from someone who lived it, rather than reading it in a textbook," Nelson says.
"I felt that if I [wrote the book] in that way — like a grandfather telling his story to his grandchildren — it would make the history all the more real," he says.
Nelson describes how the men and women who played in the Negro Leagues — faced with discrimination and a ban against their playing in the Major Leagues — created their own "grand stage" to showcase their talents.
It was characterized by rough-and-tumble play; Nelson notes that Negro League players threw pitches that were banned in the Major Leagues and, as a result, learned how to hit anything.
"By the time integration came, when Jackie Robinson crossed the color barrier in 1947, African-American ballplayers were prepared to hit anything and to play at that high level of play," Nelson says.
The title of the book comes from a quote from the founder of the Negro Leagues, Rube Foster: "We are the ship, all else the sea."
Nelson says it was a "declaration of independence" of the Negro Leagues from the Major Leagues — and a fitting title for his book.
"This story is presented in the first-person plural. We played baseball. This is how we lived, and this is what we did to enable African Americans and people of color to follow in our footsteps."


an excerpt
"It was a rough life — ride, ride, ride, and ride." — Hilton Smith, pitcher
We played in a rough league. We had a number of really unsavory characters like Charleston or Jud Wilson to contend with, as well as pitchers who didn't have a problem throwing at us, but that was something we had accepted as part of the game. I think what made our time a bit harder than most is what we had to deal with in addition to that. White fans would call us names and throw stuff at us on the field, and we couldn't say a word. In some places we traveled to, we couldn't get a glass of water to drink, even if we had money to pay for it — and back then, water was free!
We did an awful lot of traveling, mostly in buses. They were nice buses to begin with, but they weren't the kind that were made for ridin' every day. We ran those poor buses ragged. Many a time we'd ride all day and night and arrive just in time to play a game. Then we'd get back on that hot bus and travel to the next town for another game, often without being able to take a bath. This was all season long. All of that traveling would wear on you. Many times the only sleep we got was on the bus. But that could be hard because we had to take the back roads to get to some of those little towns, and they were so bumpy they'd have us bouncing around the bus like popcorn on a hot stove. Fastest we could go was about thirty-five to forty miles an hour. If the driver got sleepy, a couple of the guys on the team would take turns driving the bus. To pass the time we played cards or sang old Negro spirituals or barbershop numbers. Just about every team had a quartet. They'd be our entertainment for most of the way. Some guys could really sing. Most people don't know it, but Satchel Paige had a wonderful singing voice, and so did Buck Leonard. We would listen to them and try to join in.
Traveling was even rougher down South. They didn't take too kindly to black folks down there — especially if you were from up north. We would have to travel several hundred miles without stopping because we couldn't find a place where we could eat along the way. It's a hurtful thing when you're starving and have a pocket full of money but can't find a place to eat because they "don't serve Negroes." And you could forget about trying to use the restroom in those places. You would just have to hold it, or stop the bus and do your business in the woods. We had to get used to it. After a while, we learned which places we could stop at and which ones we couldn't. They didn't have any fast-food places back then. Many times we wouldn't get food to eat before a game, and if we did, it usually wasn't much. We would have to play a doubleheader on only two hot dogs and a soda pop. If we couldn't buy food from a restaurant or a hot dog stand, we'd stop at a grocery store and get some sandwiches or sardines and crackers. Sometimes those grocery store clerks didn't want to serve us, either. One time a store clerk told us to put our money in an ashtray if we wanted to buy something. He grabbed the money out of the ashtray and put the change back in it. He didn't want to touch our hands, but he sure did touch that money. I guess he had to draw the line somewhere. Just didn't make any sense.
It was segregated in the North, too. They wouldn't serve us inside a restaurant, so we had to get our food from the back door and eat on the bus. We'd send one guy to buy food for the whole team. Hotels were segregated, too. Many times we would get to a town after riding all day, only to spend a few more hours searching for a place to stay. The minute we arrived, inexplicably, every hotel would be full. If we couldn't find anyplace to stay, we would have to sleep on the bus.
Some of the smaller clubs slept crammed in their cars or even in the ballpark because they couldn't afford to stay in a hotel. Some teams slept at the YMCA, the local jail, even in funeral homes. In cities, we stayed in Negro hotels or Negro rooming houses. We slept two, three guys to a bed. That's all the team owner could afford. A number of the Negro hotels were very clean and neat. But more than a few times, we'd run into those places — and I won't call out any names — that had so many bedbugs you'd have to put a newspaper between the mattress and the sheets. And then in other places, we had to sleep with the lights on because the bedbugs would crawl all over you when the lights were out. Can't sleep with a bug on your leg — I don't care how tough you are.
In small towns we'd stay with local families. During the game, the manager would send someone to find people who would put us up for the night. By the time the game was over, we all had places to stay. Sometimes the colored church would fix us a meal, and I'll tell you, that was some good eating. If we got to a town and we had a little time to kill, we'd go fishing or catch a movie. Back then, a movie ticket only cost about twenty-five cents, and you could stay in the theater all day if you wanted to. We had to go through the back entrance, though, because they only allowed Negroes to sit in the balcony. There would usually be three levels in the theater, and the white audience would sit at the bottom. That whole middle section would be empty, as if the owners wanted us to be as far away from the white audience as possible. That kind of thing seems silly today, but that's how it was back then.
From WE ARE THE SHIP: THE STORY OF NEGRO LEAGUE BASEBALL by Kadir Nelson. Text and illustrations copyright (c) 2008 by Kadir Nelson. Rerinted by permission of Hyperion Books for Children. All rights reserved.

Josh Gibson


The folks at brooklynblowback provide a great service in posting read aloud videos on youtube. Here's one they did of the book, "Just Like Josh Gibson," by Angela Johnson
from amazon

Kindergarten-Grade 3--A young narrator opens this story about her grandmother with an anecdote about the legendary Josh Gibson, a Negro League player who once hit a baseball so hard in Pittsburgh that it landed during his game in Philadelphia the next day. That was the day Grandmama was born. Her father brought a Louisville slugger to the hospital and vowed that his daughter would "make baseballs fly, just like Josh Gibson." She became as good a player as the boys on the Maple Grove All-Stars, and sometimes she was invited to practice with them. When her cousin hurt his arm during a game, Grandmama got her chance to hear the cheers as she ran the bases, "stealing home." Peck's well-designed, richly colored pastel artwork, which shows people with emotion and depth, is clearly the highlight of the book. Young Grandmama, in yellow pedal pushers or a pink dress, stands out among the boys' white uniforms and the burnt orange chest protectors of the catcher and umpire. A close-up at the end shows the narrator holding the very ball her grandmother hit, as the older woman looks on, her hand on a photo of the team. Information about Hall of Famer Gibson is appended. Although the story is slight, it imparts the message that a girl can succeed at a "boy's game" if she sets her mind to it.

Satchel Paige: Don't Look Back 2

Satchel Paige: Don't Look Back 1


The folks at brooklynblowback provide a great service in posting read aloud videos on youtube. Here's part one of a book entitled, "Don't Look Back," by David Adler, a kids' biography of Satchel Paige
from amazon

The great baseball pitcher was always larger than life: here he looms as a folk hero. Adler tells the story of Paige's life simply: the seventh of 11 children, he was sent to reform school for petty theft but was famous for his arm from his earliest years. Successful in the Negro Leagues for decades, he eventually became a major league rookie--in his early forties. Widener's acrylic paintings elongate and exaggerate the figures, using a rubbery perspective and old-fashioned hues to great effect. Although this is not as powerful as Lesa Cline-Ransome's Satchel Paige (1999), it does capture Paige's personal charisma as well as his place in baseball history.

Thursday, February 14, 2008

From Slave Ship to Freedom Road


I used Paul Robeson's version of "Nobody Knows The Trouble I've Seen" as a soundtrack.
I realize the text is difficult to view. These are just the first few pages. It's a beautiful book.

Nobody knows the trouble that I've seen
Nobody knows my sorrow
Nobody knows the trouble that I've seen
Glory Hallelujah
Sometimes I'm up and sometimes I'm down
Oh Yes lord,
Sometimes I'm almost to the ground
O yes, Lord,
Nobody knows the trouble that I've seen
Nobody knows my sorrow
Nobody knows the trouble that I've seen
Glory Hallelujah

From Slave Ship to Freedom Road (Hardcover)
by Julius Lester (Author), Rod Brown (Author) "They took the sick and the dead and dropped them into the sea like empty wine barrels..." (more)
Slavery is a difficult concept to address with children, especially because many adults would prefer to forget that period of American history. In From Slave Ship to Freedom Road, award-winning author Julius Lester takes older children (and adults) on an intense, personal journey through the slave experience. As he gently explains the factual horrors of slave-ship conditions, auction blocks, plantation life, and the risks associated with escape, Lester consistently prods young readers with probing questions: "How would I feel if that happened to me?" "Would you risk going to jail to help someone you didn't know?" "You are free, but are you?" Lester also asks us to imagine the voices and feelings of the African Americans in the illustrations--another brilliant call for active participation.
Rod Brown's paintings are achingly vivid, so much so that a few may be too powerful for younger children. Certain depictions are difficult even for adults to bear: a lynched man with the bloody blows of a whip marking his back; slaves stacked seven-high in the hold of a ship, packed onto shelves with less room than the drawers of a morgue; and black bodies bobbing in the ocean. These are horrible images, but nonetheless historically accurate and important to remember. Brown took seven years to create these startling images, and his careful attention is reflected in the paintings' power and emotion. Children may be initially startled by From Slave Ship to Freedom Road, but they will also be engaged and enlightened. (Ages 10 to 13

Sweet Clara And The Freedom Quilt


I have many books with audio tapes as a result of more than 25 years of elementary classroom service. I decided to digitize some so as to make "ebook read alongs for ."
It's pretty time consuming and I didn't want to post one in its entirety so as to violate copy write laws. I thought I's start with this one for this site. However, in doing online research to provide additional resources I discovered that there's quite a controversy surrounding this book and the whole concept of freedom quilts.
Here's one source

From Meme to Monument: How the Underground Railroad Quilt Code Ended up on a Statue of Frederick Douglass by Leigh Fellner
Noted quilter, lecturer, writer and researcher Leigh Fellner presents an overview of a controversy which has evolved in the past eight years involving assertions that coded quilts were used to help escaping African-American slaves prior to the Civil War. For those not familiar with the myth or who want to know more, here are the facts ... and you can decide.
Ask anyone you know about quilts in American history, and odds are you will hear that in the first half of the 19th century, encoded quilts were used to help African-Americans escape north from slavery to freedom. You might be told no concrete evidence of an Underground Railroad Quilt Code has ever been found. But you are unlikely to hear that all the evidence argues against even the theory such a system either did exist, or needed to. The Quilt Code includes patterns known to have originated in the 20th century. It contains messages that either have nothing to do with escaping, tells fugitives to do things that would put them in danger, or are so obvious as to be insulting. Most fugitives headed south, not north; most traveled alone; few planned their escapes; and even fewer were assisted by the Underground Railroad. And neither quilts nor the circuitous route the Code describes appear in any first-person fugitive or Underground Railroad account, or indeed anywhere at all until the late 20th century.
The Code is so ahistorical that for years after the 1999 publication of Hidden in Plain View, much of the academic community dismissed it as harmless nonsense to which a scholarly response would only lend a sort of legitimacy. In the quilt world, some worried that doubting the story's veracity or the authors' scholarship would distress its proponents, who were often described as pleasant and well-meaning. One white quilter likely spoke for many when, mistakenly presuming both a widespread embrace of the Code by blacks and a dearth of recorded African-American history, she wrote me that "maybe they just need something to cling to". (In fact, most of those promoting the Code - and profiting from it - are white; Quilt Code Museum owner Teresa Kemp has complained that few of her visitors are African-American.)
Virtually uncontested, within a year of HIPV's publication the Quilt Code had become a common feature in teaching guides for Black History Month. In 2005, Ohio school board members commissioned a giant Code mural for their new high school. In 2007, the City of New York announced that over the objections of historians (including Douglass biographer David Blight, director of Yale's Gilder Lehrman Center for the Study of Slavery, Resistance, and Abolition) the Quit Code would be featured on a $15M, taxpayer-funded Central Park monument to abolitionist and former slave Frederick Douglass. The project historian had simply assumed the Code was documented fact. (The design is under review; revision of the monument would require a complete overhaul.)
It is impossible to understand how the Code was so quickly transformed from meme into monument without knowing its historic context. It is often referred to as "old," but in five years of research, the earliest mention I have found of quilts-as-signals is in Hearts and Hands: , a feminist video about women and quilts: "They say quilts were hung on the clotheslines to signal a house was safe for runaway slaves." Neither the companion book nor the filmmakers' original notes mentions this. In 1989, folklorist Gladys-Marie Fry elaborated, adding color: "Quilts were used to send messages. On the Underground Railroad, those with the color black were hung on the line to indicate a place of refuge (safe house)..." Two years later, warning that many stories about quilts are the product of "overactive imaginations," quilt historian Cuesta Benberry related: "A story, as yet undocumented, tells of quilts in the "Jacob's Ladder" pattern (renamed "Underground Railroad") hung outside houses as a signal to passengers on the Underground Railroad that the homes were safe havens for the fearful travelers." Neither Fry nor Benberry gives a source, and quilt historian Barbara Brackman says no antebellum examples of the Underground Railroad pattern are known to exist.
As interest in African-American quilts surged in the late 20th century, Jonathan Holstein (who in 1971 curated the first museum exhibition of quilts) observed that a mixture of fact, myth and speculation was "function[ing] as a dangerous substitute for missing history," and had "led to some recent fiascos of scholarship." Two years later, using the very methodology Benberry had decried as "myopic," yet another folklorist - Maude Wahlman - claimed to find specific African "signs and symbols" that African-Americans had unwittingly stitched into their quilts. Wahlman (who claims, contrary to evidence, that Euro-American quilts are historically "pastel") gets her ideas about African textiles from modern examples that would have been unrecognizable to the Africans forcibly brought to America: one type was nonexistent before the 20th century; another is unique to a region whose people were never enslaved. Likewise, 90% of Wahlman's quilts date to after 1980; census records confirm quilt historian Julie Silber's hunch that the maker of one of the few older examples was white. Wahlman suggests quilts may have been used as escape signals, but gives no details. HIPV author Jacqueline Tobin would later write that without Signs & Symbols, her own book "could not have been written."
Among the many children's books linking quilts and the Underground Railroad is 1993's Sweet Clara and the Freedom Quilt, in which the title character escapes slavery using a quilt that is literally a map. Its author, Deborah Hopkinson, says she was inspired by a National Public Radio interview with art quilter Elizabeth Scott. But NPR says the quilter was never even interviewed for that report, and I have found no record that Scott has ever mentioned quilts being used in connection with escape.

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