This collection uses primary sources to explore the Transatlantic Slave Trade. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

Students learn how to walk a mile in someone else's shoes by reading historical fiction about the Underground Railroad.

A somewhat puzzling commentary on two issues: slavery and economic protectionism. The date of the print is uncertain, but it may have appeared as part of the reaction against the Walker Tariff of 1846. A Northern bias is expressed on both issues. The text is abolitionist on the one hand and laments the absence of federal protection for American industry on the other. The author of the piece (which is less a cartoon than an arrangement of didactic tableaux) presents through his characters a number of reasoned arguments on the respective economics of slave and free industry and suggests a parallel between the hardships posed by the lack of protection for American manufacturers and the plight of the slaves. The irony of the piece rests on the fact that only the Southern slaveholder, whose interests were best served by the 1846 tariff, enjoys the shade of the symbolic Liberty Tree, which looms up in the foreground. Slave owner, fanned by a Negro slave: "Surrounded by Slaves & basking at ease by their labor we can have a clearer conception of the value of Liberty." Man borne in a litter by slaves: "Rather than submit to be a slave I would make our State a cemetery of Freemen." Slaves working under the whip of an overseer at right: "I had as lief work as not. If I had my own time to do it in." and "Who likes to be bound down to a Massa." Another: "Give me my own Country before Slavery." Further right a group of slaves converse: "Poor Sampson is dead!" "Is there nothing we can do?" "How many poor fellows heads have been stuck upon poles!" "The American People will come to a sense of Justice." "If they won't liberate "us," let our Children be free." "Our rejoicing on Bobalition days shew we are not the savages the white people take us to be." "And should our children be free when they are born they might learn the habits of industry & for hire do more work than any of our brethren are now willing to do." "We must be away Massa will see us." In the right background is a steam sawmill whose proprietor frets over his slaves, who run off saying, "Let's have a play spell" and "I'll be off." The owner laments, "What shall I do with my Slaves, they cost me more than their income, and they are more plague than profit, & if I could devise any means to get rid of them, what a triumph it would be--how can it be done without being a serious evil." The left half of the composition represents the North. Near the Liberty Tree two farmers converse: "I would not have a Slave to till my soil, to carry me, to fan me, to tremble when I wake for all the wealth that sinews bought & sold have earnt." "No! dear as freedom is, & in my heart's just estimation prized above all price I'd rather be myself the slave & wear the bonds than fasten them on him." Nearby a group of gentlemen speak: "O America! vast--wide--extended; a population increasing almost past calculation, embracing within thy limits some of almost every nation a refuge for the weary & distressed a home for the free; But O Slavery!! where will be thy bounds?" "Slaves cannot breathe in England, if their lungs receive 'its air' that moment they are free-- they touch 'that Country & their Shackles fall." In the background is a textile mill. Outside are several groups of mill girls. Their conversations concern the tariff and its effects: "What a noise the Southerners have been making about the Tariff." "I hope it is all over now." Second group: "I think if they will protect us Girls from the operation of foreign legislation as well as seamen against Pirates, we can make cloth as cheap as any body." "I dont believe English Girls can do more than we can." "The machinery went well to day." "I wove seventy yards." "I have got so as to tend three Looms." A third group: "I wonder what effect the taking the duty off Linen will have?" "Well in proportion as linen is used there will be less Cotton." "I Guess it will set the poor Irishmen to raising Flax." In the center, beyond the tree, a man on horseback leads a black woman carrying a bundle toward the right or Southern side of the print.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1846-13.

This lesson focuses on the slave narrative of Solomon Northup, a free black living in the North, who was kidnapped and sold into slavery in the Deep South. Slave narratives are autobiographies of former slaves that describe their experiences during enslavement, how they became free, and their lives in freedom. Because slave narratives treat the experience of one person, they raise questions about whether that individual's experiences exceptional.

 U.S. History is designed to meet the scope and sequence requirements of most introductory courses. The text provides a balanced approach to U.S. history, considering the people, events, and ideas that have shaped the United States from both the top down (politics, economics, diplomacy) and bottom up (eyewitness accounts, lived experience). U.S. History covers key forces that form the American experience, with particular attention to issues of race, class, and gender.Senior Contributing AuthorsP. Scott Corbett, Ventura CollegeVolker Janssen, California State University, FullertonJohn M. Lund, Keene State CollegeTodd Pfannestiel, Clarion UniversityPaul Vickery, Oral Roberts UniversitySylvie Waskiewicz

This educational curriculum package is the product of a five-year labor of love. Beginning in 2011, several educators, history enthusiasts and social activists coalesced around the charismatic Horace Seldon. Horace was finishing a long local career in social work, years with the National Parks Service, Boston, and as one of the founders of the social service organization Community Change. He was intent upon pursuing a historical research project which he had been contemplating for some time. The resultant group, led by Horace Seldon, then embarked on a research and reading circle exploring the hidden history of the Boston antebellum African American community situated on the North Slope of Beacon Hill and in the area immediately adjacent to the current Boston City Hall Plaza. The work began by investigating legendary author, activist and Beacon Hill resident David Walker. It has since grown organically into a full-fledged historical reclamation project, the results of which we now share with you.Being educators, we have naturally gravitated to exploring avenues which facilitate promoting civic engagement and self-actualization, both in the classroom and for lifelong learning. This enterprise reflects that perspective and energizing prospect. We are currently in discussion with the Mayor's Office of Diversity about bringing this project to City Hall Plaza as an integral part of the upcoming 400'h anniversary celebration of the founding of Boston. Roxbury Community College is honored to have been given the opportunity to create a digital curriculum platform to dispense information and inspire enthusiasm for history across the commonwealth, a history which surrounds us but remains invisible to many residents and tourists. It is our intention to combine an interdisciplinary approach using the latest in technological innovations, artistry and networking to share this compelling narrative, illuminating not only the lessons of the past, but the durability of a community preparing for a future of multiple challenges and inconvenient truths.

This first module includes:David Coleman: Words of ResistancePeter Snoad: Raising David WalkerVideo: Walking TourVideo: Innerview, Ms. L'Merchie Frazier 10Video: Innerview, Mr. Horace Seldon

U.S. History is designed for a two-semester American history sequence. It is traditional in coverage, following a roughly chronological outline, and using a balanced approach that includes political, economic, social, and cultural developments. At the same time, the book includes a number of innovative and interactive features designed to enhance student learning. Instructors can also customize the book, adapting it to the approach that works best in their classroom.

By the end of this section, you will be able to:Analyze the role slavery played in the history and economy of the British EmpireExplain the effects of the 1739 Stono Rebellion and the 1741 New York Conspiracy TrialsDescribe the consumer revolution and its effect on the life of the colonial gentry and other settlers

From CK-12, U.S. History Sourcebook - Advanced covers U.S. history from Colonial America through World War I. This book provides high school U.S. History teachers and students with sets of primary and secondary sources about important topics. Some teachers will use it as a supplement to a traditional textbook. For those looking to leave the textbook behind entirely, it will provide a course with basic structure and continuity, and will reduce the burden of finding new primary sources for each class meeting. However, it is not yet comprehensive enough to meet the coverage requirements of, for example, an Advanced Placement test.

From CK-12, U.S. History Sourcebook - Basic covers U.S. history from Colonial America through World War I. This book provides high school U.S. History teachers and students with sets of primary and secondary sources about important topics. Some teachers will use it as a supplement to a traditional textbook. For those looking to leave the textbook behind entirely, it will provide a course with basic structure and continuity, and will reduce the burden of finding new primary sources for each class meeting. However, it is not yet comprehensive enough to meet the coverage requirements of, for example, an Advanced Placement test.

Northern fears of European intervention in the Civil War on behalf of the South are manifest here.Uncle Sam, in the form of a bearded Union soldier (closely resembling Abraham Lincoln), unceremoniously routs John Bull from a fenced garden where the latter has been poaching. Grabbing him by the scruff of the neck, Sam warns, "John, You lost your Non-interfering Principle. I'll lay it on your back again." The American wields a large stick "Principle of Non Enterference." John Bull has a handful of cotton plants, more of which appear at right, and wears "Armstrong's Patent" cannon on his legs. (The term refers to a type of English-made gun used by the Confederates.) The artist has hidden several Negro faces in his drawings of cotton plants here. A cock with the head of French leader Napoleon III watches from his perch on the fence at left. At right stands a large scarecrow from whose arms hang the lifeless bodies of Confederate general P. G. T. Beauregard and Confederate president Jefferson Davis. A plaque on the scarecrow reads, "All Persons Tresspassing These Premisses, will be punished according to Law." |The Library's impression of the print was deposited for copyright on June 22, 1861. |Title appears as it is written on the item.|Entered . . . 1861 by E. Stauch . . . Pennsylvania.|Weitenkampf, p. 132.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1861-39.

This collection uses primary sources to explore Harriet Beecher Stowe's Uncle Tom's Cabin. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

A pro-Breckinridge satire on the 1860 presidential contest. Republican candidate Abraham Lincoln (right) and Democrat Stephen A. Douglas (left) appear as boxers squaring off in a ring before a small crowd of onlookers. Douglas is seconded by an Irishman (left), presumably representing Douglas's Democratic constituency. Lincoln is coached by a black man, who kneels at right, armed with a basket of liquor bottles, and signifies Lincoln's antislavery leanings. In the background a third candidate, John C. Breckinridge, thumbs his nose and points toward the White House. He is encouraged on his way by a number of men who cheer and doff their hats to him. Weitenkampf cites a version of the print signed by F. Welcker of Cincinnati. Whatever his identity, the artist of "The Undecided Political Prize Fight" was probably also responsible for "The Political Quadrille" and "Dividing the National Map" (nos. 1860-23 and 1860-24), judging from the strikingly similar handling of the candidate portraits in all three prints.|Title appears as it is written on the item.|Weitenkampf, p. 121.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1860-22.

This collection uses primary sources to explore the Underground Railroad and the Fugitive Slave Act of 1850. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

An anti-McClellan broadside, contrasting Republican candidate Abraham Lincoln's advocacy of equality and free labor in the North to Democratic opponent McClellan's alleged support of the Southern slave system. The comparison is made in two scenes, "Union and Liberty" (left) and "Union and Slavery" (right). In the first, Lincoln shakes the hand of a bearded man wearing a square paper labor cap, while black and white school children issue from a schoolhouse flying the American flag in the background. On the right McClellan, in military uniform, shakes the hand of Confederate president Jefferson Davis, as a slave auction takes place behind them.|Published by M.W. Siebert, Printer, 28 Centre Street, Corner Reade, N.Y.|Title appears as it is written on the item.|Lorant, p. 264.|Weitenkampf, p. 143.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1864-27.

An open 8th grade U.S. History textbook covering the American Revolution through Reconstruction. Includes chapters on the underlying beliefs behind our system of government, westward expansion. the Civil War, and more. Each chapter is set up around an inquiry question. We consider these questions to be “Compelling Questions”. That means we want you to be thinking about this question throughout the entire chapter. You’ll notice that most of them are open ended. By investigating each question over the course of a chapter you’ll come to a conclusion that you should be able to support with evidence before moving on to your next inquiry.