"Tragedies of the White Slave" by H. M. Lytle is a collection of real-life stories of the white slaves. The lives of 5,000 young girls are laid upon the altar of lust every year in the city of Chicago alone. Each recital reveals a specific technique by which white slavers have enslaved innocent victims which are girls and brutally destroyed them. The collection includes: The Tragedy of The Theatrical Agency The Tragedy of the Maternity House The Tragedy of the Girl with the Hair The Tragedy of Mona Marshall, etc.

This book examines the lives of the Antebellum South's underprivileged whites in nineteenth-century America.

Essays exploring Black women’s experiences with slavery in the Americas. Gender was a decisive force in shaping slave society. Slave men’s experiences differed from those of slave women, who were exploited both in reproductive as well as productive capacities. The women did not figure prominently in revolts, because they engaged in less confrontational resistance, emphasizing creative struggle to survive dehumanization and abuse. The contributors are Hilary Beckles, Barbara Bush, Cheryl Ann Cody, David Barry Gaspar, David P. Geggus, Virginia Meacham Gould, Mary Karasch, Wilma King, Bernard Moitt, Celia E. Naylor-Ojurongbe, Robert A. Olwell, Claire Robertson, Robert W. Slenes, Susan M. Socolow, Richard H. Steckel, and Brenda E. Stevenson. “A much-needed volume on a neglected topic of great interest to scholars of women, slavery, and African American history. Its broad comparative framework makes it all the more important, for it offers the basis for evaluating similarities and contrasts in the role of gender in different slave societies. . . . [This] will be required reading for students all of the American South, women’s history, and African American studies.” —Drew Gilpin Faust, Annenberg Professor of History, University of Pennsylvania

In Counterlife Christopher Freeburg poses a question to contemporary studies of slavery and its aftereffects: what if freedom, agency, and domination weren't the overarching terms used for thinking about Black life? In pursuit of this question, Freeburg submits that current scholarship is too preoccupied with demonstrating enslaved Africans' acts of political resistance, and instead he considers Black social life beyond such concepts. He examines a rich array of cultural texts that depict slavery—from works by Frederick Douglass, Radcliffe Bailey, and Edward Jones to spirituals, the television cartoon The Boondocks, and Quentin Tarantino's Django Unchained—to show how enslaved Africans created meaning through artistic creativity, religious practice, and historical awareness both separate from and alongside concerns about freedom. By arguing for the impossibility of tracing slave subjects solely through their pursuits of freedom, Freeburg reminds readers of the arresting power and beauty that the enigmas of Black social life contain.

Beginning with the argument that the Emancipation Proclamation did not actually free African American slaves, this dissenting view of Lincoln's greatness surveys the president's policies, speeches, and private utterances and concludes that he had little real interest in abolition. Pointing to Lincoln's support for the fugitive slave laws, his friendship with slave-owning senator Henry Clay, and conversations in which he entertained the idea of deporting slaves in order to create an all-white nation, the book, concludes that the president was a racist at heart--and that the tragedies of Reconstruction and the Jim Crow era were the legacy of his shallow moral vision.