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In the years between 1880 and 1915, New York City and its environs underwent a tremendous demographic transformation with the arrival of millions of European immigrants, native whites from the rural countryside, and people of African descent from both the American South and the Caribbean. While all groups faced challenges in their adjustment to the city, hardening racial prejudices set the black experience apart from that of other newcomers. Through encounters with each other, blacks and whites, both together and in opposition, forged the contours of race relations that would affect the city for decades to come.Before Harlemreveals how black migrants and immigrants to New York entered a world far less welcoming than the one they had expected to find. White police officers, urban reformers, and neighbors faced off in a hostile environment that threatened black families in multiple ways. Unlike European immigrants, who typically struggled with low-paying jobs but who often saw their children move up the economic ladder, black people had limited employment opportunities that left them with almost no prospects of upward mobility. Their poverty and the vagaries of a restrictive job market forced unprecedented numbers of black women into the labor force, fundamentally affecting child-rearing practices and marital relationships. Despite hostile conditions, black people nevertheless claimed New York City as their own. Within their neighborhoods and their churches, their night clubs and their fraternal organizations, they forged discrete ethnic, regional, and religious communities. Diverse in their backgrounds, languages, and customs, black New Yorkers cultivated connections to others similar to themselves, forming organizations, support networks, and bonds of friendship with former strangers. In doing so, Marcy S. Sacks argues, they established a dynamic world that eventually sparked the Harlem Renaissance. By the 1920s, Harlem had become both a tragedy and a triumph-undeniably a ghetto replete with problems of poverty, overcrowding, and crime, but also a refuge and a haven, a physical place whose very name became legendary.

Part detective tale, part social and cultural narrative,Black Gothamis Carla Peterson's riveting account of her quest to reconstruct the lives of her nineteenth-century ancestors. As she shares their stories and those of their friends, neighbors, and business associates, she illuminates the greater history of African-American elites in New York City. Black Gothamchallenges many of the accepted \"truths\" about African-American history, including the assumption that the phrase \"nineteenth-century black Americans\" means enslaved people, that \"New York state before the Civil War\" refers to a place of freedom, and that a black elite did not exist until the twentieth century. Beginning her story in the 1820s, Peterson focuses on the pupils of the Mulberry Street School, the graduates of which went on to become eminent African-American leaders. She traces their political activities as well as their many achievements in trade, business, and the professions against the backdrop of the expansion of scientific racism, the trauma of the Civil War draft riots, and the rise of Jim Crow. Told in a vivid, fast-paced style,Black Gothamis an important account of the rarely acknowledged achievements of nineteenth-century African Americans and brings to the forefront a vital yet forgotten part of American history and culture.

Stories of Freedom in Black New York recreates the experience of black New Yorkers as they moved from slavery to freedom. In the early decades of the nineteenth century, New York City's black community strove to realize what freedom meant, to find a new sense of itself, and, in the process, created a vibrant urban culture. Through exhaustive research, Shane White imaginatively recovers the raucous world of the street, the elegance of the city's African American balls, and the grubbiness of the Police Office. It allows us to observe the style of black men and women, to watch their public behavior, and to hear the cries of black hawkers, the strident music of black parades, and the sly stories of black conmen. Taking center stage in this story is the African Company, a black theater troupe that exemplified the new spirit of experimentation that accompanied slavery's demise. For a few short years in the 1820s, a group of black New Yorkers, many of them ex-slaves, challenged pervasive prejudice and performed plays, including Shakespearean productions, before mixed race audiences. Their audacity provoked feelings of excitement and hope among blacks, but often of disgust by many whites for whom the theater's existence epitomized the horrors of emancipation.Stories of Freedom in Black New York brilliantly intertwines black theater and urban life into a powerful interpretation of what the end of slavery meant for blacks, whites, and New York City itself. White's story of the emergence of free black culture offers a unique understanding of emancipation's impact on everyday life, and on the many forms freedom can take.

With this book, Cheryl Hicks brings to light the voices and viewpoints of black working-class women, especially southern migrants, who were the subjects of urban and penal reform in early-twentieth-century New York. Hicks compares the ideals of racial uplift and reform programs of middle-class white and black activists to the experiences and perspectives of those whom they sought to protect and, often, control.In need of support as they navigated the discriminatory labor and housing markets and contended with poverty, maternity, and domestic violence, black women instead found themselves subject to hostility from black leaders, urban reformers, and the police. Still, these black working-class women struggled to uphold their own standards of respectable womanhood. Through their actions as well as their words, they challenged prevailing views regarding black women and morality in urban America. Drawing on extensive archival research, Hicks explores the complexities of black working-class women's lives and illuminates the impact of racism and sexism on early-twentieth-century urban reform and criminal justice initiatives.

Beginning with a purchased shirt and ending with a handmade dress, Shirts Powdered Red shows how Haudenosaunee women and their work shaped their nations from the sixteenth century through the nineteenth century. By looking at clothing that was bought, created, and remade, Maeve Kane brings to life how Haudenosaunee women used access to global trade to maintain a distinct and enduring Haudenosaunee identity in the face of colonial pressures to assimilate and disappear. Drawing on rich oral, archival, material, visual, and quantitative evidence, Shirts Powdered Red tells the story of how Haudenosaunee people worked to maintain their nations' cultural and political sovereignty through selective engagement with trade and the rhetoric of civility, even as Haudenosaunee clothing and gendered labor increasingly became the focus of colonial conversion efforts throughout the upheavals and dispossession of the nineteenth century. Shirts Powdered Red offers a sweeping, detailed cultural history of three centuries of Haudenosaunee women's labor and their agency to shape their nations' future.

\"I was in high spirits all through my unwise teens, considerably puffed up, after my drawings began to sell, with that pride of independence which was a new thing to daughters of that period.\"-The Reminiscences of Mary Hallock Foote Mary Hallock made what seems like an audacious move for a nineteenth-century young woman. She became an artist. She was not alone. Forced to become self-supporting by financial panics and civil war, thousands of young women moved to New York City between 1850 and 1880 to pursue careers as professional artists. Many of them trained with masters at the Cooper Union School of Design for Women, where they were imbued with the Unity of Art ideal, an aesthetic ideology that made no distinction between fine and applied arts or male and female abilities. These women became painters, designers, illustrators, engravers, colorists, and art teachers. They were encouraged by some of the era's best-known figures, among themTribuneeditor Horace Greeley and mechanic/philanthropist Peter Cooper, who blamed the poverty and dependence of both women and workers on the separation of mental and manual labor in industrial society. The most acclaimed artists among them owed their success to New York's conspicuously egalitarian art institutions and the rise of the illustrated press. Yet within a generation their names, accomplishments, and the aesthetic ideal that guided them virtually disappeared from the history of American art. Art Work: Women Artists and Democracy in Mid-Nineteenth-Century New Yorkrecaptures the unfamiliar cultural landscape in which spirited young women, daring social reformers, and radical artisans succeeded in reuniting art and industry. In this interdisciplinary study, April F. Masten situates the aspirations and experience of these forgotten women artists, and the value of art work itself, at the heart of the capitalist transformation of American society.

Josephine McCarty had many identities. But in Albany, New York, she was known as \"Dr. Emma Burleigh,\" the abortionist of Howard Street. On January 17, 1872, McCarty boarded a streetcar in Utica, New York, shot her ex-lover in the face, and disembarked, unaware that her bullet had passed through her target's head and into the heart of the innocent man sitting beside him. The unlucky passenger died within minutes. Josephine McCarty was arrested for attempted murder and quickly became the most notorious woman in central New York. The Abortionist of Howard Street was, however, far more than a murderer. In Maryland she was \"Johnny McCarty,\" a blockade runner and spy for Confederate forces. New Yorkers whispered of her as a mistress to corrupt Albany politicians. So who was she? The prosecution in her murder trial claimed she was a calculating and heartless operative both in the bedroom and in her public life. Or was she the victim of ill fortune and the systemic weight of misogyny and male violence? The answer, of course, was not as simple as either narrative. In this absorbing and rich history, R.E. Fulton considers the nuances of Josephine McCarty's life from marriage to divorce, from financial abuse to quarrels with intimate partners and more, trying to decipher the truth behind the stories and myths surrounding McCarty and what ultimately led her to that Utica streetcar with a pistol in her dress pocket. In The Abortionist of Howard Street, Fulton revisites a rich history of women's experience in mid-nineteenth century America, revealing McCarty as a multifaceted, fascinating personification of issues as broad as reproductive health, education, domestic abuse, mental illness, and criminal justice.

Reforming the World offers a sophisticated account of how and why, in the late nineteenth and early twentieth centuries, American missionaries and moral reformers undertook work abroad at an unprecedented rate and scale. Looking at various organizations such as the Young Men's Christian Association and the Student Volunteer Movement for Foreign Missions, Ian Tyrrell describes the influence that the export of American values had back home, and explores the methods and networks used by reformers to fashion a global and nonterritorial empire. He follows the transnational American response to internal pressures, the European colonies, and dynamic changes in global society.

The untold story of the catastrophic heat wave that brought Gilded Age New York to its knees--and kick-started Theodore Roosevelt's political career.

Through an analysis of women's reform, domestic worker activism, and cultural values attached to public and private space, Vanessa May explains how and why domestic workers, the largest category of working women before 1940, were excluded from labor protections that formed the foundation of the welfare state. Looking at the debate over domestic service from both sides of the class divide,Unprotected Laborassesses middle-class women's reform programs as well as household workers' efforts to determine their own working conditions.May argues that working-class women sought to define the middle-class home as a workplace even as employers and reformers regarded the home as private space. The result was that labor reformers left domestic workers out of labor protections that covered other women workers in New York between the late nineteenth century and the New Deal. By recovering the history of domestic workers as activists in the debate over labor legislation, May challenges depictions of domestics as passive workers and reformers as selfless advocates of working women.Unprotected Laborilluminates how the domestic-service debate turned the middle-class home inside out, making private problems public and bringing concerns like labor conflict and government regulation into the middle-class home.