Review by Booklist Review
Educator and activist Hall, surrounded by stacks of books, tells readers on page nine of her first graphic novel, "I am a historian. And I am haunted." She's searching for records of the Black women warriors she knows participated in slave revolts, work that requires her to read between every line and follow every disappearing trail. Using historical documents, letters, and "a measured use of historical imagination," she reconstructs stories of revolt in New York in 1712 and aboard the slave ship Unity in 1770. She discovers that there were more revolts on ships with more women present. As Hall speaks to us, we meet her family, present and past--her partner and child, her Nana Harriet, born enslaved--and see her own experiences, such as when she tries to access the archives of Lloyds of London, the insurer whose fortune began in slave ships, and is met with cruel defiance. Martínez's dramatic woodcut-style illustrations are the perfect complement to Hall's clear-eyed, impactful storytelling. Underscoring Hall's insistence that we live in history's wake, a single frame often encompasses multiple worlds--an eighteenth-century gallows reflected in the window of an NYPD van, a contemporary construction site reminiscent of the sinewy, roiling sea people were forced to travel in chains. A necessary corrective to violent erasure and a tribute to untold strength, this awe-inspiring collaboration should find a wide audience.
From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review
Hall's nuanced and affecting debut graphic narrative uncovers history that has either been assumed non-existent or rendered violently so by its almost complete erasure from official record. Blending present-day memoir and historical reconstruction, the story follows Hall as she strives to write her dissertation on women-led slave revolts, only to discover a handful of examples and obstructions from institutions seemingly invested in keeping these stories buried (such as being barred from accessing an insurance company's slave ship records). Hall must imagine how these enslaved women rose against their dire straits, filling in scenes such as one where a woman may have burned her enslaver's house down following the death of her friend, then attempted a mass escape. Hall's singular look at these women, along with her own experiences and resilience, highlight how entwined the past and present really are. Martínez's resonant black-and-white art cleverly integrates historical scenes into the present-day narrative. Plus, his roomy panels and full pages leave space to breathe, and to reflect. Readers will be left with plenty to think about. Agent: Anjali Singh, Ayesha Pande Literary. (June)
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Review by Kirkus Book Review
A vividly illustrated account of Black women rebels that combines elements of memoir, archival research, and informed imaginings of its subjects' lives. A former tenants rights lawyer, Hall pursued a doctorate in history to uncover America's warped justice system. "In order to understand our experiences as Black women today," she writes, "I had to study slavery." This collaboration with illustrator Martínez focuses on two women-led revolts in New York City and uprisings during the trans-Atlantic slave trade. Of a 1712 revolt, Hall finds in court records the first names of four women involved and sentenced to execution; none are quoted in transcripts. "This is one way history erases us….You think you are reading an accurate chronicle written at the time, but if who we are and what we care about are deemed irrelevant, it won't be in there," writes Hall. The author also examines a 1708 revolt led by a woman referred to in documents as the "Negro Fiend"; she was burned at the stake. The granddaughter of slaves, the author seeks to honor her ancestors by filling in the silent record. Facing difficulty accessing records and digesting their information, Hall called upon her deceased grandmother for strength. In London, Hall delved into archives of the trans-Atlantic slave trade, reading hundreds of slave-ship logs. Revolts at sea were largely a suicide mission fueled by slaves' desire to "take their captors with them to the bottom of the ocean." Research shows that the more women onboard a slave ship, the more likely a revolt. Hall believes that this was because women were mostly kept unchained and on deck, where it was easier for crew members to rape them; this also gave them access to weapons. The black-and-white illustrations nicely complement the text and elevate the artfulness and the power of the book, which begins and ends with scenes depicting women-led revolts aboard a ship Hall calls the Unity. An urgent, brilliant work of historical excavation. Copyright (c) Kirkus Reviews, used with permission.
Copyright (c) Kirkus Reviews, used with permission.
