Barracoon: The Story of the Last Slave
Alice Walker
Zora Neale Hurston
Abducted from Africa, sold in America.“A deeply affecting record of an extraordinary life”- Daily TelegraphA major literary event: a newly published work from the author of the American classic Their Eyes Were Watching God, with a foreword from Pulitzer Prize-winning author Alice Walker.This account illuminates the horror and injustices of slavery as it tells the true story of one of the last-known survivors of the Atlantic slave trade.In 1927, Zora Neale Hurston went to Plateau, Alabama, just outside Mobile, to interview eighty-six-year-old Cudjo Lewis, who was abducted from Africa on the last "Black Cargo" ship to arrive in the United States. Of the millions of men, women, and children transported from Africa to America as slaves, Cudjo was then the only person alive to tell the story of this integral part of the nation’s history. Hurston was there to record Cudjo’s firsthand account of the raid that led to his capture and bondage fifty years after the Atlantic slave trade was outlawed in the United States.In 1931, Hurston returned to Plateau, the African-centric community three miles from Mobile founded by Cudjo and other former slaves from his ship. Spending more than three months there, she talked in depth with Cudjo about the details of his life. During those weeks, the young writer and the elderly formerly enslaved man ate peaches and watermelon that grew in the backyard and talked about Cudjo’s past—memories from his childhood in Africa, the horrors of being captured and held in a barracoon for selection by American slavers, the harrowing experience of the Middle Passage packed with more than 100 other souls aboard the Clotilda, and the years he spent in slavery until the end of the Civil War.Based on those interviews, featuring Cudjo’s unique vernacular, and written from Hurston’s perspective with the compassion and singular style that have made her one of the preeminent American authors of the twentieth-century, Barracoon masterfully illustrates the tragedy of slavery and of one life forever defined by it. Offering insight into the pernicious legacy that continues to haunt us all, black and white, this poignant and powerful work is an invaluable contribution to our shared history and culture.
About the Author (#ulink_70e5064c-23b8-5239-ae7f-7e3ddb9ae3e6)
ZORA NEALE HURSTON was a novelist, folklorist, and anthropologist. An author of four novels (Jonah’s Gourd Vine, 1934; Their Eyes Were Watching God, 1937; Moses, Man of the Mountain, 1939; and Seraph on the Suwanee, 1948); two books of folklore (Mules and Men, 1935, and Tell My Horse, 1938); an autobiography (Dust Tracks on a Road, 1942); and more than fifty short stories, essays, and plays. She attended Howard University, Barnard College, and Columbia University, and was a graduate of Barnard College in 1927. She was born on January 7, 1891, in Notasulga, Alabama, and grew up in Eatonville, Florida. She died in Fort Pierce, Florida, in 1960. In 1973, Alice Walker had a headstone placed at her grave site with this epitaph: ZORA NEALE HURSTON: “A GENIUS OF THE SOUTH.”
ALSO BY ZORA NEALE HURSTON (#u8461b778-77e3-582c-ad8e-150b6db0abdb)
Jonah’s Gourd Vine
Their Eyes Were Watching God
Moses, Man of the Mountain
Seraph on the Suwanee
Mules and Men
Tell My Horse
Dust Tracks on a Road
Copyright (#u8461b778-77e3-582c-ad8e-150b6db0abdb)
An imprint of HarperCollins Publishers Ltd
1 London Bridge Street
London SE1 9GF
First published in Great Britain by HQ in 2018
Copyright © The Zora Neale Hurston Trust 2018
The Zora Neale Hurston Trust asserts the moral right to be identified as the author of this work.
A catalogue record for this book is available from the British Library.
This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, downloaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.
Ebook Edition © April 2018 ISBN: 9780008297671
But the inescapable fact that stuck in my craw, was: my people had sold me and the white people had bought me. . . . It impressed upon me the universal nature of greed and glory.
—Zora Neale Hurston, Dust Tracks on a Road
Barracoon: The Spanish word barracoon translates as “barracks” and is derived from barraca, which means “hut.” The term “barracoon” describes the structures used to detain Africans who would be sold and exported to Europe or the Americas. These structures, sometimes also referred to as factories, stockades, corrals, and holding pens, were built near the coast. They could be as insubstantial as a “slave shed” or as fortified as a “slave house” or “slave castle,” wherein Africans were forced into the cells of dungeons beneath the upper quarters of European administrators. Africans held in these structures had been kidnapped, captured in local wars and raids, or were trekked in from the hinterlands or interior regions across the continent. Many died in the barracoons as a consequence of their physical condition upon arrival at the coast or the length of time it took for the arrival of a ship. Some died while waiting for a ship to fill, which could take three to six months. This phase of the traffic was called the “coasting” period. During the years of suppression of the traffic, captives could be confined for several months.
Contents
Cover (#uc983014c-9391-5b01-ab8b-ef971b1db015)
About the Author (#ulink_a89d809f-c4b9-57a4-9aff-d111168aa81b)
Booklist (#uaa0ac21d-afb4-5804-9ba5-3b9c8e533051)
Title Page (#ub77f287f-c54f-5b3b-a404-7eff25452dbe)
Copyright (#ub846aeb9-4714-5628-840f-a9f4ebf98b16)
Foreword: (#ulink_2b9dc50a-ab3a-56e7-a12c-f17e9b2f4956)
Those Who Love Us Never Leave Us Alone with Our Grief: Reading Barracoon: The Story of the Last “Black Cargo” by Alice Walker (#ulink_0ff94cab-f2df-5a1d-b953-46b47fd72f92)
Introduction (#ulink_db0c75c2-47bf-5d23-a441-6b91319bae31)
Editor’s Note
BARRACOON
Dedication (#u83d85a51-9725-5ce9-ab40-e6571ec54a8d)
PREFACE
INTRODUCTION
I
II: THE KING ARRIVES
III
IV
V
VI: BARRACOON
VII: SLAVERY
VIII: FREEDOM
IX: MARRIAGE
X: KOSSULA LEARNS ABOUT LAW
XI
XII: ALONE
APPENDIX
Takkoi or Attako—Children’s Game
Stories Kossula Told Me
The Monkey and the Camel
Story of de Jonah
Now Disa Abraham Fadda de Faitful
The Lion Woman
Afterword and Additional Materials Edited by Deborah G. Plant
Afterword
Acknowledgements
Founders and Original Residents of Africatown
Glossary
Notes
Bibliography
About the Editor
About the Publisher
Foreword (#ulink_9b6e7f34-cc4b-5f20-b2cd-025b43f3375c)
THOSE WHO LOVE US NEVER LEAVE US ALONE WITH OUR GRIEF (#ulink_8798f3b8-de64-5bf4-b106-85e470d87af3)
Reading Barracoon: The Story of the Last “Black Cargo” (#ulink_8798f3b8-de64-5bf4-b106-85e470d87af3)
Those who love us never leave us alone with our grief. At the moment they show us our wound, they reveal they have the medicine. Barracoon: The Story of the Last “Black Cargo” is a perfect example of this.
I’m not sure there was ever a harder read than this, for those of us duty bound to carry the ancestors, to work for them, as we engage in daily life in different parts of the world where they were brought in chains. And where they, as slaves to cruel, or curious, or indifferent, white persons (with few exceptions) existed in precarious suspension disconnected from their real life, and where we also have had to struggle to protect our humanity, to experience joy of life, in spite of everything evil we have witnessed or to which we have been subjected.
Reading Barracoon, one understands immediately the problem many black people, years ago, especially black intellectuals and political leaders, had with it. It resolutely records the atrocities African peoples inflicted on each other, long before shackled Africans, traumatized, ill, disoriented, starved, arrived on ships as “black cargo” in the hellish West. Who could face this vision of the violently cruel behavior of the “brethren” and the “sistren” who first captured our ancestors? Who would want to know, via a blow-by-blow account, how African chiefs deliberately set out to capture Africans from neighboring tribes, to provoke wars of conquest in order to capture for the slave trade people—men, women, children—who belonged to Africa? And to do this in so hideous a fashion that reading about it two hundred years later brings waves of horror and distress. This is, make no mistake, a harrowing read.
We are being shown the wound.
However, Zora Hurston’s genius has once again produced a Maestrapiece. What is a Maestrapiece? It is the feminine perspective or part of the structure, whether in stone or fancy, without which the entire edifice is a lie. And we have suffered so much from this one: that Africans were only victims of the slave trade, not participants. Poor Zora. An anthropologist, no less! A daughter of Eatonville, Florida, where truth, what was real, what actually happened to somebody, mattered. And so, she sits with Cudjo Lewis. She shares peaches and watermelon. (Imagine how many generations of black people would never admit to eating watermelon!) She gets the grisly story from one of the last people able to tell it. How black people came to America, how we were treated by black and white. How black Americans, enslaved themselves, ridiculed the Africans; making their lives so much harder. How the whites simply treated their “slaves” like pieces of machinery. But machinery that could be whipped if it didn’t produce enough. Fast enough. Machinery that could be mutilated, raped, killed, if the desire arose. Machinery that could be cheated, cheerfully, without a trace of guilt.
And then, the story of Cudjo Lewis’s life after Emancipation. His happiness with “freedom,” helping to create a community, a church, building his own house. His tender love for his wife, Seely, and their children. The horrible deaths that follow. We see a man so lonely for Africa, so lonely for his family, we are struck with the realization that he is naming something we ourselves work hard to avoid: how lonely we are too in this still foreign land: lonely for our true culture, our people, our singular connection to a specific understanding of the Universe. And that what we long for, as in Cudjo Lewis’s case, is gone forever. But we see something else: the nobility of a soul that has suffered to the point almost of erasure, and still it struggles to be whole, present, giving. Growing in love, deepening in understanding. Cudjo’s wisdom becomes so apparent, toward the end of his life, that neighbors ask him to speak to them in parables. Which he does. Offering peace.
Here is the medicine:
That though the heart is breaking, happiness can exist in a moment, also. And because the moment in which we live is all the time there really is, we can keep going. It may be true, and often is, that every person we hold dear is taken from us. Still. From moment to moment, we watch our beans and our watermelons grow. We plant. We hoe. We harvest. We share with neighbors. If a young anthropologist appears with two hams and gives us one, we look forward to enjoying it.
Life, inexhaustible, goes on. And we do too. Carrying our wounds and our medicines as we go.
Ours is an amazing, a spectacular, journey in the Americas. It is so remarkable one can only be thankful for it, bizarre as that may sound. Perhaps our planet is for learning to appreciate the extraordinary wonder of life that surrounds even our suffering, and to say Yes, if through the thickest of tears.
Alice Walker
March 2018
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