Excerpt from The Autobiography of William Simpson, R. I: Crimean Simpson In his last years William Simpson occupied the hours of his enforced leisure in writing an account of the memorable circumstances of his life. His career had been eventful and varied far beyond that of most men. He had taken part, as an observer on the spot, in nearly all the great wars and historic events in which his country was interested during a period of forty years. As the earliest of war artists he had gone through the campaign of the Crimea, and this with such distinction as to earn for himself the soubriquet thenceforth of "Crimean Simpson." India after the Mutiny had also been studied and wrought over by him during two years of painstaking travel. Probably no artist before or since has investigated its ancient interests and remote regions with such thoroughness and sympathy. Among his later campaigns he followed Napier to Magdala, and took part in bringing the son of King Theodore home. He went with the Germans to Paris, was arrested as a spy, and passed through the dangerous episodes of the Commune in the French capital. And he took a brilliant part in the Afghan war, was shot at in the Khyber Pass, and by the merest chance escaped assassination with Cavagnari in Cabul. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

The first book to explore how African American writing and art engaged with visions of Ethiopia during the late nineteenth and early twentieth centuries As the only African nation, with the exception of Liberia, to remain independent during the colonization of the continent, Ethiopia has long held significance for and captivated the imaginations of African Americans. In Black Land, Nadia Nurhussein delves into nineteenth- and twentieth-century African American artistic and journalistic depictions of Ethiopia, illuminating the increasing tensions and ironies behind cultural celebrations of an African country asserting itself as an imperial power. Nurhussein navigates texts by Walt Whitman, Paul Laurence Dunbar, Pauline Hopkins, Harry Dean, Langston Hughes, Claude McKay, George Schuyler, and others, alongside images and performances that show the intersection of African America with Ethiopia during historic political shifts. From a description of a notorious 1920 Star Order of Ethiopia flag-burning demonstration in Chicago to a discussion of the Ethiopian emperor Haile Selassie as Time magazine’s Man of the Year for 1935, Nurhussein illuminates the growing complications that modern Ethiopia posed for American writers and activists. American media coverage of the African nation exposed a clear contrast between the Pan-African ideal and the modern reality of Ethiopia as an antidemocratic imperialist state: Did Ethiopia represent the black nation of the future, or one of an inert and static past? Revising current understandings of black transnationalism, Black Land presents a well-rounded exploration of an era when Ethiopia’s presence in African American culture was at its height.