African Town Inspired by the true story of the last American slave ship

Irene Latham

Book - 2022

Chronicles the story of the last Africans brought illegally to the United States on the Clotilda in 1860.

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Subjects
Genres
Young adult fiction
Historical fiction
Novels in verse
Published
New York : G.P. Putnam's Sons 2022.
Language
English
Main Author
Irene Latham (author)
Other Authors
Charles Waters, 1973- (author), Joycelyn M. Davis (writer of introduction)
Physical Description
438 pages : illustrations, maps ; 22 cm
Audience
Ages 12+.
Grades 7-9.
Bibliography
Includes bibliographical references (pages 433-435).
ISBN
9780593322888
  • Introduction / by Joycelyn M. Davis
  • Home is where the story is
  • Dreams and schemes
  • Life interrupted
  • Ouidah
  • Voyage to America
  • Mobile swamplands
  • Enslaved
  • When war comes to town
  • The truth about freedom
  • African Town
  • Life is but a dream
  • Author's note
  • Voices
  • More about the characters
  • Africatown today
  • Selected time line
  • Glossary
  • Poetry forms/styles
  • Learn more about the shipmates, the Clotilda, and African Town.
Review by Booklist Review

Inspired by the true story of the last American slave ship, African Town is an epic novel in verse told from multiple first-person points of view, each one written in a different verse form. The story begins in 1860 when Timothy Meaher, a wealthy Alabama riverboat captain, makes a $1,000 wager that he can illegally smuggle a ship's worth of enslaved workers back to Mobile without the authorities' knowledge. The action then moves to the West African kingdom of Dahomey, where readers meet 19-year-old Kossola, the story's protagonist, who will become one of 110 Africans kidnapped and sold to Meaher's representative. After a hideously arduous 40-day voyage aboard the ship Clotilda, the Africans arrive clandestinely in Alabama, where they are sold into slavery. The novel then follows the intertwined lives of Kossola and some half-dozen others, all of whom were "passengers" on the Clotilda. Readers see them gain their freedom and obsessively save their money until they can buy multiple plots of land adjacent to one another, thereby founding African Town in the early 1870s. This is by no means the end of the story, which goes on to chart the fully realized lives of its characters until 1901. African Town is a compelling novel that doubles as an important historic document, invaluable for both classroom use and independent reading.

From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review

Based on historical events and set between 1859 and 1901, Latham (D-39: A Robodog's Journey) and Waters (Dictionary for a Better World) pen an ambitious verse novel told in many voices. In spite of laws forbidding further importation of enslaved peoples into the United States, Timothy Meaher, owner of a shipping business, wagers $1,000 that he can smuggle "a good number" of enslaved people across the Atlantic and into Mobile, Ala., without being caught. As a result, Capt. William Foster sails the Clotilda to the Kingdom of Dahomey in 1860, buying 110 people from the nephew of Dahomey's king. Alternating among 14 voices, including that of the Clotilda, this novelization chronicles the journey of the 110 enslaved people across the Middle Passage and their subsequent lives, including a dream of returning home to Africa and, eventually, the establishment of free African Town, "a town far enough from Mobile that it feels/ like de center of the world, but also separate/ from de world." Though the myriad narrative voices can sound indistinct, the authors employ a range of poetic forms, resulting in an insightful, quickly paced telling that centers tradition and resilience. Abundant back matter includes an authors' note, glossary, timeline, list of poetry forms/styles employed, and more. Ages 12--up. Agent (for Latham and Waters): Rosemary Stimola, Stimola Literary Agency. (Jan.)

(c) Copyright PWxyz, LLC. All rights reserved
Review by Kirkus Book Review

A fictionalized account of the last slave ship to bring captives from Africa to the United States. Despite the U.S. ban on the importation of enslaved labor, plantation owner Timothy Meaher bet that he could bring in a shipload of Africans. In 1860, a ship called the Clotilda, under the leadership of Capt. William Foster, sailed from Mobile, Alabama, to the kingdom of Dahomey. There, Foster purchased 110 people--including a 2-year-old girl--who had been captured by the king's soldiers. Fourteen voices, including that of the ship, tell the tale of that journey across the Middle Passage and the years following their enslavement, first in the Alabama swamps, then on plantations, and finally in the free settlement of African Town (later renamed Africatown). The highly personal stories in verse reveal the different aspects of this illegal trade and the impact on both the Black enslaved people and the White crew members. Most well known is Kossola, who was long thought to be the last known survivor of the Atlantic slave trade. Latham and Waters use a different poetic form for each narrator, giving each a distinct personality. The Africans' attempts to hold true to their home cultures and traditions--most were Yoruba--as they try to adapt to their new reality come across most powerfully. Enhanced by rich backmatter, this is a strong addition to literature about slavery. (map, authors' note, characters, Africatown today, timeline, glossary, poetry forms/styles, resources) (Verse novel. 12-18) Copyright (c) Kirkus Reviews, used with permission.

Copyright (c) Kirkus Reviews, used with permission.

KOSSOLA Our Story Be still, my children. Listen with your ears and your heart. Our story starts with this mark on my right cheek, these chipped teeth. See? This is how you know I am who I say I am. De town where I was born is called Bantè. It's nowhere near here, not in African Town, not in Alabama. This town's way across de ocean, on de west coast of Africa in de kingdom of Dahomey. My family's home was a round, two-­story adobe with a terrace. Surrounded by hills, about eight days' walk to de sea. Someday maybe you will see de world de way I have seen it in Bantè. Then you will know how de sun kisses de earth, melts like honey over de land--­ it's no wonder I believed all of life would be bright and sweet. No wonder it still shocks me that de world can be so hard, so dark. But that darkness, it brought me here. It brought you here. This is our story. KOSSOLA Market Day My favorite day of de week is market day. De market sits right in front of de king's compound, which is located near de center of Bantè. Villagers come from miles around, passing through de eight gates in de tall solid walls that enclose our town on all sides, like a fortress. Dey come to buy goats, cows, yams, fried wàrà, fùfú, palm roots, and yards of lace. "Hurry up, ọmọ mi," my ìyá sings in Yorùbá, like I'm still a child. She says I'll always be her precious boy, even though I'm eighteen years old now. "Your bàbá and bàbá àgbà said you must rope the goats." I come from a family of farmers--­not royalty, but rich enough to own our own animal herds. On market day, all of us older children help out while de younger ones race between de stalls and bang homemade drums. When there's a lull, I sneak away to find Adérónké̩, who waits for me at de trunk of a mahogany tree. "Watch where I put my feet," she says, scrambling higher before my eyes can find her first foothold. Her laughter rains down on me, soft and shimmery. Teasing me, challenging me. I grunt with my efforts, and when I slip, I try again and again until I make it. Together we watch de market from above, two bright birds singing our own song until de sun drops behind Bantè's walls and de other villagers head for home. "A good day," Bàbá àgbà says. We carry only three cases of palm oil and two goats back home. When I grab hold of de goats' head-­ropes, Bàbá àgbà puts a hand on my brother Tayo's shoulder. "Stay close," he says, "or I will sell you to the Portuguese for tobacco." Bàbá àgbà's eyes sparkle, but his fingers hold firm. I throw my shoulders back, keep my voice light. "Why would dey want Tayo, when dey can have me?" We've all heard stories about people getting snatched by King Glèlè's soldiers and being sold to traders who carry them across de sea. But that doesn't happen in Bantè, with our walls and gates and families all looking out for one another. Besides, Bàbá àgbà doesn't even like tobacco. Bàbá àgbà's cheeks lift, and he gives me a playful shove. "Those traders don't want you, Kossola. You talk too much." De goats follow as Tayo and I pull ahead of Bàbá àgbà, but not too far ahead. TIMOTHY Master of Disguise As the sun drops, I turn over the wheel of the Roger B. Taney to my first mate so I can dress for dinner. Soon I'll join my guests for drinks, smoking, and chatting. Oh, how I love being on the water! Gives a man a chance to dream, and to count successes. And there have been many since I've moved to this state some twenty-four years ago. Since then, me and my brothers Jim and Burns dominate the shipping routes in Alabama. Our ancestors would be dancing with pride. As I gallop toward fifty years old, I've given my family's name dignity--­for my sweet, young wife, Mary, who isn't but half my age, for our future children, and for my brothers, too. As I enter the dining room, my guests greet me with respect. "Good evening, Captain Meaher," they say. "Evenin', everyone," I reply, tipping my hat. I may be Irish by nationality, and a Mainer by birth, but when necessary, I can transform myself into either a Southern swashbuckler or a Southern gentleman, depending on what's needed. KOSSOLA Dreaming of Orò For four years I've been training to be a soldier, getting ready for my initiation into orò, de highest level of our Yorùbá religion. "I'm ready now," I tell Bàbá. He shakes his head. "Soldier first. You must earn orò." He hands me de spear, shows me again how to settle my weight into my thighs, reminds me to use my sight. "Keep your eyes open, and the spear will follow." I drop into de proper stance, but my mind's stuck on orò. I want to be part of de secret society of men right now . I don't want to wait for de elders to say I'm ready. I am ready. No one's more respected than de orò. Dey decide which punishment fits which crime. De king may have ultimate say, but even he listens to de orò. I want to know what it's like to sit in de woods for days with fellow orò, deciding de fate of others. I want to know that kind of respect and power. Even de market shuts down and waits for de orò's return. "Higher," Bàbá instructs, and I lift de spear. If I can't make de years pass any faster, at least I've got this time alone with Bàbá. Perhaps I can impress him, convince him I'm ready. My eyes zero in on de target, and I heave my spear. TIMOTHY The Bet The smoky room turns from laughter to seriousness faster than a water-­wheel when our conversation spins to Congress's refusal to reopen the international slave trade. I pound my fist on the table. "How do they expect us to make a living? We need slave labor, and we need it cheap." The gentlemen nod their heads, and talk swings to the possibility of our state, and others, seceding from the Union. "We should secede," I argue. "Handle our own slave trade, set our own prices. It's the only way to turn a profit." Mr. Deacon, a businessman from New York City, shakes his head. "Well," he says, "until that happens, the threat of being lynched will disabuse anyone of notions about bringing slaves in illegally." I cough his words away. "Deacon," I say. "You put more faith in the government than I do. No one's going to lynch me ." Mr. Ayers, another Northeasterner, who specializes in the production of pills, pipes up. "You can't bring Africans within sniffing distance of America without being caught." Mr. Matthews, a Louisiana farmer of the highest order, shouts, "Of course it can happen. Matter of fact, I'll bet you all a hundred dollars!" Well, that gets my attention. "Gentlemen," I say, my voice ominous as a windless sky. "I'll wager you all a thousand dollars that I can smuggle a good number of slaves back to Mobile without the authorities knowing about it." The room erupts with shouts and laughter, before we all shake hands to seal the bet. Hang me? Let the government try. A bet is a bet--­and I aim to win. Excerpted from African Town by Charles Waters, Irene Latham All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.