Jubilee

Moses Hogan Chorale singing "Swing Low Sweet Chariot

Jubilee a joyful shout or clangor of trumpets, the name of the great semi-centennial festival of the Hebrews. It lasted for a year. During this year the land was to be fallow, and the Israelites were only permitted to gather the spontaneous produce of the fields (Lev. 25:11, 12). All landed property during that year reverted to its original owner (13-34; 27:16-24), and all who were slaves were set free (25:39-54), and all debts were remitted. The return of the jubilee year was proclaimed by a blast of trumpets which sounded throughout the land. There is no record in Scripture of the actual observance of this festival, but there are numerous allusions (Isa. 5:7, 8, 9, 10; 61:1, 2; Ezek. 7:12, 13; Neh. 5:1-19; 2 Chr. 36:21) which place it beyond a doubt that it was observed. The advantages of this institution were manifold. "1. It would prevent the accumulation of land on the part of a few to the detriment of the community at large. 2. It would render it impossible for anyone to be born to absolute poverty, since everyone had his hereditary land. 3. It would preclude those inequalities which are produced by extremes of riches and poverty, and which make one man domineer over another. 4. It would utterly do away with slavery. 5. It would afford a fresh opportunity to those who were reduced by adverse circumstances to begin again their career of industry in the patrimony which they had temporarily forfeited. 6. It would periodically rectify the disorders which crept into the state in the course of time, preclude the division of the people into nobles and plebeians, and preserve the theocracy inviolate."

Frederick Douglass, "The Meaning of July Fourth for the Negro" (excerpt)

Fellow-citizens, above your national, tumultuous joy, I hear the mournful wail of millions! whose chains, heavy and grievous yesterday, are, to-day, rendered more intolerable by the jubilee shouts that reach them. If I do forget, if I do not faithfully remember those bleeding children of sorrow this day, "may my right hand forget her cunning, and may my tongue cleave to the roof of my mouth!" To forget them, to pass lightly over their wrongs, and to chime in with the popular theme, would be treason most scandalous and shocking, and would make me a reproach before God and the world. My subject, then, fellow-citizens, is American slavery. I shall see this day and its popular characteristics from the slave's point of view. Standing there identified with the American bondman, making his wrongs mine, I do not hesitate to declare, with all my soul, that the character and conduct of this nation never looked blacker to me than on this 4th of July! Whether we turn to the declarations of the past, or to the professions of the present, the conduct of the nation seems equally hideous and revolting. America.is false to the past, false to the present, and solemnly binds herself to be false to the future. Standing with God and the crushed and bleeding slave on this occasion, I will, in the name of humanity which is outraged, in the name of liberty which is fettered, in the name of the constitution and the Bible which are disregarded and trampled upon, dare to call in question and to denounce, with all the emphasis I can command, everything that serves to perpetuate slavery the great sin and shame of America! "I will not equivocate; I will not excuse"; I will use the severest language I can command; and yet not one word shall escape me that any man, whose judgment is not blinded by prejudice, or who is not at heart a slaveholder, shall not confess to be right and just.

An Introduction to the Slave Narrative

by William L. Andrews
E. Maynard Adams Professor of English
Series Editor

Source: http://docsouth.unc.edu/neh/intro.html

Modern black autobiographies such as Richard Wright's Black Boy (1945) and The Autobiography of Malcolm X (1965) testify to the influence of the slave narrative on the first-person writing of post-World War II African Americans. Beginning with Margaret Walker's Jubilee (1966) and extending through such contemporary novels as Ernest J. Gaines's The Autobiography of Miss Jane Pittman (1971), Sherley Ann Williams's Dessa Rose (1986), Toni Morrison's Beloved (1987), and Charles Johnson's Middle Passage (1990), the "neo-slave narrative" has become one of the most widely read and discussed forms of African American literature. These autobiographical and fictional descendants of the slave narrative confirm the continuing importance and vitality of its legacy: to probe the origins of psychological as well as social oppression and to critique the meaning of freedom for black and white Americans alike from the founding of the United States to the present day.