The 1850 Fugitive Slave Law, which mandated action to aid in the recovery of runaway slaves and denied fugitives legal rights if they were apprehended, quickly became a focal point in the debate over the future of slavery and the nature of the union. In Making Freedom, R. J. M. Blackett uses the experiences of escaped slaves and those who aided them to explore the inner workings of the Underground Railroad and the enforcement of the Fugitive Slave Law, while shedding light on the political effects of slave escape in southern states, border states, and the North. Blackett highlights the lives of those who escaped, the impact of the fugitive slave cases, and the extent to which slaves planning to escape were aided by free blacks, fellow slaves, and outsiders who went south to entice them to escape. Using these stories of particular individuals, moments, and communities, Blackett shows how slave flight shaped national politics as the South witnessed slavery beginning to collapse and the North experienced a threat to its freedom.

The inspiring story of an 18th-century New England slave who emancipated himself

In Making Freedom Anne-Maria Makhulu explores practices of squatting and illegal settlement on the outskirts of Cape Town during and immediately following the end of apartheid. Apartheid's paradoxical policies of prohibiting migrant Africans who worked in Cape Town from living permanently within the city led some black families to seek safe haven on the city's perimeters. Beginning in the 1970s families set up makeshift tents and shacks and built whole communities, defying the state through what Makhulu calls a "politics of presence." In the simple act of building homes, squatters, who Makhulu characterizes as urban militants, actively engaged in a politics of "the right to the city" that became vital in the broader struggles for liberation. Despite apartheid's end in 1994, Cape Town’s settlements have expanded, as new forms of dispossession associated with South African neoliberalism perpetuate relations of spatial exclusion, poverty, and racism. As Makhulu demonstrates, the efforts of black Capetonians to establish claims to a place in the city not only decisively reshaped Cape Town's geography but changed the course of history.

The end of slavery left millions of former slaves destitute in a South as unsettled as they were. In Making Freedom Pay, Sharon Ann Holt reconstructs how freed men and women in tobacco-growing central North Carolina worked to secure a place for themselves in this ravaged region and hostile time. Without ignoring the crushing burdens of a system that denied blacks justice and civil rights, Holt shows how many black men and women were able to realize their hopes through determined collective efforts. Holt's microeconomic history of Granville County, North Carolina, drawn extensively from public records, assembles stories of individual lives from the initial days of emancipation to the turn of the century. Making Freedom Pay uses these highly personalized accounts of the day-to-day travails and victories of ordinary people to tell a nationally significant story of extraordinary grassroots uplift. That racist terrorism and Jim Crow legislation substantially crushed and silenced them in no way trivializes the significance of their achievements.

Dana Kay Nelkin presents a new account of freedom and moral responsibility, based on the view that one is responsible for an action if and only if one acts with the ability to recognize and act for good reasons. She responds to various challenges to the idea that we are free and responsible, and reaffirms our notion of ourselves as agents.

This work traces the origin and development of the idea of freedom in Western culture. It deals with three distinct forms of freedom: personal freedom; civic freedom (the right to participate in public life); and sovereign freedom (the right to exercise power over others).

In the long decade between the mid-fifties and the late sixties, jazz was changing more than its sound. The age of Max Roach's Freedom Now Suite, John Coltrane's A Love Supreme, and Charles Mingus's The Black Saint and the Sinner Lady was a time when jazz became both newly militant and newly seductive, its example powerfully shaping the social dramas of the Civil Rights movement, the Black Power movement, and the counterculture. Freedom Is, Freedom Ain't is the first book to tell the broader story of this period in jazz--and American--history.