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Essays on the Black Death
The black death research paper
Essays on the Black Death
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African American reactions to death and loss can be traced to their African roots, their centuries of slavery, their commitment to Christianity, and their post-slavery treatment in American society. Among those to explore death and dying in twentieth-century African America is author Karla FC Holloway. In her book Passed On: African American Mourning Stories: a Memorial Collection, Holloway thoroughly investigated the myths, rituals, economics, and politics of African American mourning and burial practices, and found that ways of dying are just as much a part of black history as ways of living. Holloway dug into the history of African American death through a series of interviews, archival research, and analyses of literature, film, movies, theater, and music. Through it, Holloway showed how the vulnerability of African Americans to untimely death is inextricably linked to how black culture represents itself and is represented. In dealing with grief and loss, African American researchers have primarily focused on the “death-care” industry—black funeral homes and morticians, the history of the profession, and its practices. Holloway took a stronger and more active approach by researching all facets of the burial business: emergency room physicians, hospital chaplains, hospice administrators, embalming chemical salesmen, casket makers, funeral directors, and grieving relatives. She uses narrative, photographs, and images to summon a painful history of lynchings, white rage and riot, medical malpractice and neglect, executions, and neighborhood violence. Her research uncovered how people in the past had specialized caskets sold to African Americans, formal burial photos of infants, and deathbed stories, and she unveiled a glimpse... ... middle of paper ... ...d in rural communities and whites lived in the cities. The first African American funeral directors had the challenge of driving long distances, over dirt bumpy country roads in horse-drawn carriages, to care for the white dead at the family home. The dead were laid on a “cooling board” at the family home for the purpose of slowing the deterioration of the body. The funeral director had to provide the ice for the cooling board. In the1920s, blacks started moving into the major industrial cities to obtain good manufacturing jobs. Many were urged to attend mortuary school and start businesses to help bury the increasing urban African American community. Death is an important transition in the African American life because of its traditions and history. It is a celebration of a life gone to be with Jesus. The African American history also heightens the sense of loss.
James Baldwin had a talent of being able to tell a personal story and relate it to world events. His analysis is a rare capability that one can only acquire over an extensive lifetime. James Baldwin not only has that ability, but also the ability to write as if he is conversing with the reader. One of his most famous essays, “Notes of a Native Son,” is about his father’s death. It includes the events that happened prior to and following his father’s death. Throughout this essay, he brings his audience into the time in which he wrote and explains what is going on by portraying the senses and emotions of not only himself, but as well as the people involved. This essay has a very personal feeling mixed with public views. Baldwin is able to take one small event or idea and shows its place within the “bigger picture.” Not only does he illustrate public experiences, but he will also give his own personal opinion about those events. Throughout “Notes of a Native Son” Baldwin uses the binary of life versus death to expand on the private versus public binary that he also creates. These two binaries show up several times together showing how much they relate to each other.
‘Fire in a canebrake’ is quite a scorcher by Laura Wexler and which focuses on the last mass lynching which occurred in the American Deep South, the one in the heartland of rural Georgia, precisely Walton County, Georgia on 25th July, 1946, less than a year after the Second World War. Wexler narrates the story of the four black sharecroppers who met their end ‘at the hand of person’s unknown’ when an undisclosed number of white men simply shot the blacks to death. The author concentrates on the way the evidence was collected in those eerie post war times and how the FBI was actually involved in the case, but how nothing came of their extensive investigations.
hooks, bell. "Sorrowful Black Death Is Not a Hot Ticket." Writing as Re-Vision: A Student's Anthology. Ed. Beth Alvarado and Barbara Cully. Needham Heights: Simon & Schuster Custom Publishing, 1998. 99-107.
In her Fire in a Canebrake, Laura Wexler describes an important event in mid-twentieth century American race relations, long ago relegated to the closet of American consciousness. In so doing, Wexler not only skillfully describes the event—the Moore’s Ford lynching of 1946—but incorporates it into our understanding of the present world and past by retaining the complexities of doubt and deception that surrounded the event when it occurred, and which still confound it in historical records. By skillfully navigating these currents of deceit, too, Wexler is not only able to portray them to the reader in full form, but also historicize this muddled record in the context of certain larger historical truths. In this fashion, and by refusing to cede to a desire for closure by drawing easy but inherently flawed conclusions regarding the individuals directly responsible for the 1946 lynching, Wexler demonstrates that she is more interested in a larger historical picture than the single event to which she dedicates her text. And, in so doing, she rebukes the doubts of those who question the importance of “bringing up” the lynching, lending powerful motivation and purpose to her writing that sustains her narrative, and the audience’s attention to it.
History is the codpiece worn by those who count themselves as the better of humanity consequently its ideology grants permission to brutalize those it has decided are subhuman. Then blots them out from the historical record. David Kutz’s four-part documentary The African Burial Ground: An American Discovery 1994 clearly illustrates this particular facet. His portrayal of the stunning discovery of 18th century early New York’s “Negro’s Burial Ground” is thought provoking and emotionally charged. (Kutz 1994) This remarkable find sheds light on New Amsterdam’s historical prejudice gaining insight into the lives of African slaves through their skeletal remains. This production offers a glance into the plight of New York’s contemporary citizens who fought the government in order to recognize, uphold, and win honor for those who laboured to build one of America’s greatest cities.
Humans are mistified by the unanswered questions about life after death. People crave immortality, yet everyone dies. Cemeteries memorialize death, making humans consider their mortality. Burial grounds serve as sacred places for people to mourn loved ones. In a constantly changing world, cemeteries provide a picture of the past, demonstrating cultural and religious views of death. The spatial arrangement of graves and headstones displays prejudices relating to socioeconomic class, gender, and race. The Lewisburg Cemetery presents an incite into the cultural relations and socioeconomic class dimensions in Union County since the Civil War.
Karina is from Georgia and is African American. Her mother has died, her family and friends mourn the loss by wearing black. Karina and those around her are open about their grief. At the funeral for Karina’s mother the body is viewed at the house that she grew up in. The body is then moved to the church where more family, friends, and the community have a service for the deceased. After the service the body is transported to a cemetery where the mourners hold a burial service at which favorite belongings of the deceased are placed in the casket before being put into the ground. Just like the European Americans that practice the Christian faith Karina and her family wear black as a way to mourn their loved ones. They also have a ceremony in
Death, dying, funerals, are not your typical dinner conversation. But for someone like me who has grown up in the industry, quite literally, it is not unusual. My father is the owner of three funeral homes in Virginia, Hibbing, and Tower, Minnesota. I may not have realized it, but I have seen several trends in funeral services. For this paper, I will be enlightening you with a brief history of funeral service, the types of funerals, and the cost of funerals.
Coming to terms with death and dying is perhaps the most difficult human struggle. In addition to facing our own impermanence, we are also permanent to accept the mortality of those we love. In The Adventures of the Black Girl in Search for God, Rainy mourns the death of her young daughter while also being confronted with the terminal illness of her father. In sharp contrast to Rainey’s difficulty in dealing with his reality is Abendigo’s calm acceptance of coming to the ends of his life (Taitt).
Joan M. Martin, the womanist Christian liberation ethicist, starts her writing about Womanist Eschatology with an epigraph from Traditional Negro Spiritual, and she gives the readers a hint of her understanding of womanist eschatology. In the epigraph, “morning” and “mourning” is the hint. Martin believes that if there is no mourning, there is no morning too. In other words, people mourn because they have eager for joy and peace. To cry about own suffering from racism, sexism, and classism is because they have “the sacred hope” in God. Thus, Martin claims that womanist eschatology actualizes from the grief and lament through the history, past, present, and future.
The cemetery my grandfather is buried at Gate of Heaven Cemetery, one of the largest cemeteries in the New York City area. It’s filled with people of all backgrounds and nationalities that came to the city and surrounding area. It has become home to many people as it was created in 1917 and it’s still active to this day, showing exactly one hundred years of progression. The location of the cemetery’s first plots is important to begin with, because New York City is an urban and central hub for lots of the world, the cemetery being outside the city in Westchester County is done on purpose. A cemetery can be a somewhat depressing sight, so it’s placed away from everyone and where they will only see it if they travel out to. It creates a separation between “us and them” (233). Because of the large number of residents from New York City are buried there, the cemetery’s origins start the progressive story of how it grew. The beginning of the cemetery tells a great deal about who was living there at the time. The original tombstones had all of the last names seemed to be
In many cultures all over the world their religions view death in numerous different ways. The author Leslie Marmon Silko depicts this in a short story called “The Man to Send Rain Clouds”. The author herself is of mixed ancestry including Laguna Pueblo Indian, Mexican, and white enabling her to write a short complex story of a culture trying to maintain their own religion when living in a society of what religion is expected and right in others eyes(Literature for Life, 1243). The theme of “The Man to Send Rain Clouds” focuses on death, understanding everyone has different cultures, and respecting others.
...dealing with death in its many guises. After the Civil War, the plantations, Southern belles, and slave quarters were all still there. The way of life that gave rise to these things was gone, though. There was a futility to the genteel class' struggle to redefine who and what it was. “This is … a genre of love and loss. In the end, purity of heart rarely overpowers desperation.” (Oprah) What is more desperate than coping with death?
My mom, my sister, and I was the first to look at my father’s body, chills went down my spine for the first time, as I have never seen a dead person in my life before, maybe in a movie or two, but actually getting to touch a dead person or even interact with the deceased makes it the ultimate first time experience. My mom, my sister, and I hovered over the casket, my father looked a couple shades darker, his skin had a rough texture to it as I put my hand on my father’s hands that were nicely placed on top of one of another. He was nicely trimmed, his hair was trimmed, his eyes were closed, and he looked nice in his suit, my father just looked like he was peacefully sleeping in his bed, just minus the snoring part. I instantly became curious about the deceased, and the process of how they prepared the body for viewing and burial. I wanted to know so many things about this profession and the only way I could get these answers for my questions, it to go find the person who helped make my father look natural as if he was sleeping. As I was trying to find the person who was responsible for the outstanding work that was done, I spotted an older African American man who wore an all black suit standing around looking calm as ever with two other guys who were also wearing a black suit standing near
Reviewed the following resources on participant/non participant observation, ethnography, and the sociology of the African American funeral: Merriam, S. B. (2009). Being a careful observer. Qualitative research: A guide to design and implementation, ch, 6 and Hazell, L. (2013). Cross-Cultural funeral service rituals.