Slavery

It’s a miracle this exhibition even exists: Audubon’s Birds of America reviewed

In 2014, an exhibition of watercolours by the renowned avian artist, John James Audubon, opened in New York. The reviews, from the New York Times to the Guardian, were unambiguously enthusiastic, celebrating the painter as a legendary genius who ‘exceeded the limits of his era’. Fast forward eight years, and a rather different vibe hangs over the latest outing of his bird portraits, one that reflects both the limits of that era and the limits of the man. Visitors to the National Museum of Scotland’s Audubon’s Birds of America are welcomed with an acknowledgment that the artist was ‘full of contradiction and controversy’. His charge sheet is substantial. It’s not

Edinburgh’s slavery review is strangely superficial

A couple of days ago a colleague alerted me to the opening of an online public consultation regarding proposals made by the Edinburgh Slavery and Colonialism Legacy Review Group, a scheme launched by Edinburgh City Council in 2020 to look at ways the city can acknowledge its historical connections with slavery and colonialism in the wake of the Black Lives Matter protests. The public consultation will close in January, and aims to find ‘constructive ways’ that the people of Edinburgh can address the city’s involvement in the slave trade. The Review Group list numerous sites in Edinburgh with various, and for the most part undeniable, associations with the reprehensible history

Fear and loathing in Jamaica: Caribbean slaves turn the whip on their masters

In the shadows of the British Enlightenment lurked the Caribbean sugar plantations. Masters routinely raped their slaves, punished minor wrongdoings by forcing one to shit in another’s mouth and even burnt some at the stake while growing the cane destined to sweeten the tea tables of London salons, Oxbridge dons or Hampshire parsons. It’s from this civilised viewpoint, top-down and half the world away, that we still tell the story of the abolition movement, William Wilberforce and the House of Commons, the great breakers of chains. But slaves were perfectly capable of fighting for their own freedoms, as the Harvard historian Vincent Brown shows in Tacky’s Revolt, his careful reconstruction

Tsunami of piffle: Rockets and Blue Lights at the Dorfman Theatre reviewed

Deep breath. Here goes. Winsome Pinnock’s new play about Turner opens with one of the most confusing and illogical scenes you’re ever likely to see. A teacher on a school trip is showing her pupils a Turner painting displayed in a gallery housed inside a ship donated by the producers of a film starring a famous actress, Lou, who happens to be on board wearing a sumptuous outfit for an awards ceremony, which she plans to avoid for fear that a coveted prize will be handed to a rival. Lou invites the school teacher to an after party that is scheduled to start when the awards ceremony ends. She then

Quietly radiates a wholly justified confidence: BBC 1’s The Pact reviewed

There was certainly no lack of variety among new TV dramas this week, with a standard British thriller up against more glamorous American competition in the shape of some extravagant Victorian sci-fi and an adaption by an Oscar-winning director of a Pulitzer-winning novel. (All three, mind you, did naturally feature a one-dimensional white bloke as the embodiment of sexist and/or racist villainy.) The surprising thing at this stage is that it’s the plucky British show that looks most promising. The Pact began, like many a thriller before it, with a frightened woman running through some dark woods. So far we still don’t know why — unless it was just force

The tragic demise of the National Trust

And so the National Trust’s crazed attack on its own properties goes blazing on. Their latest self-hating wheeze is to get children to write poems attacking Britain’s history. One hundred primary school pupils have been taken around the Trust’s country houses before they compose poems about the former owners’ connections with the British Empire. It’s all part of the Trust’s ‘Colonial Countryside’ project, which since 2018 has been highlighting ties between the Trust’s houses and imperialism. And so, at lovely Charlecote Park, Warwickshire, one child wrote this about the jewelled dress sword and scabbard looted from Lucknow during the Indian mutiny of 1857: ‘Stolen by the English; a freedom sword, a

When will the National Trust realise its big mistake?

The National Trust still doesn’t get it. It still doesn’t understand why so many of its members hate the politicisation and catastrophic dumbing-down of an institution they once revered. Hilary McGrady, the Trust’s Director-General, has just defended the Trust’s report on colonialism and slavery. The report, released last September, looked into the colonial or slavery links of its properties, including Winston Churchill’s Chartwell home and William Wordsworth’s house. McGrady said the Trust should ‘make sure we tell all of the stories about all of our properties’. That’s the problem. The Trust isn’t telling all of the stories these days. For the past ten years, it has been on a relentless, one-sided

Exclusive: Haberdashers’ Aske’s could change name over slavery links

In the wake of last summer’s Black Lives Matter protests, a number of leading British private schools announced plans to decolonise their syllabus. Winchester, Fettes, Ampleforth and St Paul’s Girls were all reported to be ‘formulating new approaches’ to teaching about Britain’s colonial past and whether subject curriculums were inclusive enough. Now Mr S can reveal that the Haberdashers’ Aske’s schools are the latest to join the list. The governing body of the Haberdashers’ Company has written to parents and guardians at its famous boys and girls schools in Elstree and its sister Federation in South London about its benefactor Robert Aske, a London merchant who died in 1689. In a letter seen by Steerpike, chairman Simon Cartmell

The distortion of British history

The British Museum has announced the appointment of a curator to study the history of its own collections. On the face of it, nothing could be more anodyne. The history of collecting has been a fashionable topic in academic circles for decades. What sort of people collected, why, and how, tells us much about their cultural assumptions and their ways of seeing the world. It would be mildly surprising that the BM has been so slow to catch on – except that there seems more to it than scholarly pursuit of knowledge. While the research will indeed cover ‘wider patterns’ of collecting, the Museum announced that it is ‘likely that

The National Trust’s shameful manifesto

The National Trust has brought out its ‘Interim Report’, with the clumsy title ‘Addressing our histories of colonialism and historic slavery’. Such use of the word ‘histories’, as opposed to ‘history’, is an alert that a woke view is coming your way. Like ‘diversity’ and ‘multiple narratives’ (also deployed in the report), it suggests plurality but imposes uniformity. The aim is to be ‘historically accurate and academically robust’. According to John Orna-Ornstein, the Trust’s director of culture and engagement, ‘We’re not here to pass judgment on the past’. It is not true, as the BBC reported, that the Trust has ‘revealed’ that 93 of its properties are linked to slavery

Italy owes Wales reparations for the wrongs of the Roman Empire

There’s talk of reparations in the air. Lobbyists from around the world are demanding sin-payments from former colonial powers. Let me add my voice to the clamour on behalf of this island’s indigenous Celtic people. My family are from Llanelli in Carmarthenshire and I believe that my compatriots have an excellent case to make against the Roman empire. This is not an extinct claim – the money is still in play. Britain was invaded by Julius Caesar in 55 BC and his visit was followed up a century later by the Emperor Claudius and his mob. The Roman occupation, which involved the military subjection of the Celtic peoples, lasted for

Russell Brand’s brain fog over Edward Colston

Back in the day when celebrities didn’t pontificate on the news but kept their political opinions to themselves, Russell Brand used to be a stand-up comedian. These days, he’s known more for his radical politics (and his former squeeze Katy Perry) than he is for his comedy. Naturally, Brand had plenty to say about last week’s removal of Edward Colston’s statue in Bristol. Indeed, so informed was he on the subject that he had to remind himself of Colston’s name in his video lecture. Miss S was rather alarmed to hear that Brand appears to think Hitler and Churchill were as racist as each other and that he considers himself

Liverpool University shouldn’t cancel William Gladstone

After the fall of the statue of slaver Edward Colston in Bristol, it was only a matter of time before attention turned, once again, to England’s other great slave-trading city of Empire, and the figures behind it. William Gladstone is one of Liverpool’s most famous sons. One of the great Liberal politicians of the age, he was prime minister on four separate occasions in the mid to late 1800s. There are a few reminders of this dotted across the city today, but the most notable are the halls of residence that bear his name, belonging to the University of Liverpool. The university has now announced that it will rename the

Europe’s eye-popping first glimpse of the Americas

Coronavirus has cast a dampener over this year’s Mayflower 400 celebrations due to a hidden enemy with which the Pilgrim Fathers were all too familiar: within months of their arrival in America more than half of them had died of a disease whose principal symptom was violent coughing. There was no official artist on the Mayflower. Its ragtag party of Separatist Puritans had only been granted a charter on condition that their religious affiliation, banned in England, was not formally recognised. So we can only imagine how the New World looked to the cabin-feverish colonists who made landfall at Plymouth in December 1620, lustily shaking ‘the desert’s gloom/With their hymns

Sue the Normans!

Restorative justice for the victims of colonialism is an idea whose time has come. A few years ago, the Indian diplomat Shashi Tharoor suggested Britain pay India compensation to atone for centuries of colonial rule. ‘I’d be quite happy if it was one pound a year for the next two hundred years,’ he said. In April, Cambridge University announced a two-year study into how buildings and wine cellars might have been constructed on the backs of slaves. ‘There is growing public and academic interest in the links between the older British universities and the slave trade, and it is only right that Cambridge should look into its own exposure to

Cambridge’s slavery inquiry will raise more questions than it answers

Can the past hold the present to ransom? Can we be culpable for our predecessors’ actions? Knotty questions of this kind have long been debated in British universities. But now these abstractions are finding new and controversial expression. Yesterday, the University of Cambridge made headlines by launching an academic investigation into its historical relationship – direct or otherwise – with the slave trade. The panel will spend two years scrutinising whether Cambridge profited from ‘the Atlantic slave trade and other forms of coerced labour during the colonial era’. For academics, the enquiry will certainly be interesting. But serious problems inevitably arise when historical discoveries are deemed to have moral consequence for the present.

Double trouble | 21 March 2019

Us is a second feature from Jordan Peele after his marvellous debut Get Out, which was more brilliantly satirical than scary and may well be the best ever horror film for non-horror people (i.e. me). Us has also garnered five stars everywhere, as well as, at the time of writing, a 100 per cent rating on the aggregate review site Rotten Tomatoes, so I’m out of step, I know, but I found it disappointing. The second act is essentially a zombie-style, home-invasion splatterfest that goes on and on and on. Allusions that you think will pay off don’t. It’s ultimately baffling and although I’m fine with baffling as a rule,

Capitalism in America: A History

Donald J. Trump has sparked some soul- searching among US historians: has this happened before? Does it mean America has changed? Cue the self-laceration, cue the book deals. Two impressive volumes illustrate both agreement and disagreement, both concurring that America represents the search for something — but the jury’s out as to precisely what. Capitalism in America: A History is by an Economist writer (Adrian Wooldridge) and a former chair of the Federal Reserve (Alan Greenspan), so you can guess where they’re coming from. The book celebrates the American thirst for self-improvement and argues that the country has long benefited from a ‘creative destruction’ driven by the market and entrepreneurs.

The burden of freedom

It’s 1830, and among the sugar cane of Faith Plantation in Barbados, suicide seems like the only way out. Decapitations and burnings are performed with languorous cruelty. Women give birth and are sent straight back to work after lying their ‘tender-skinned newborns down in the furrows to wail against the hot sun’. Esi Edugyan’s third novel does not retreat to softer ground after her last, Half-Blood Blues, dealt with Nazi ideology. Both Germany and Barbados have chapters in their histories when humans were treated like mere creatures. Hope arrives with the plantation master’s brother, Christopher ‘Titch’ Wilde, a scientist, inventor and abolitionist. Titch chooses a slave boy, George Washington Black,

The Brazilian paradox

As the great Bossa Nova musician Tom Jobim liked to say, Brazil is not for beginners. This tends to be the case for biographies too: an admiration for the protagonist comes first. But once one has a taste for the flair, language and music of Brazil, the extraordinary tale of the pressure cooker that forged it heaves into view. Five centuries of pharaonic boldness and brutality meander through this hefty tome. In relating the events that shaped Brazil’s vast and unlikely realm, the authors seek to dispel the ‘fairytale’ myths that continue to distort reality. Take cachaça, Brazil’s national liquor. The reader may consume it in a genteel setting in