A COMMUNITY OF SOULS
An Introduction
IBRAM X. KENDI
In August 1619, when the twenty “Negroes” stepped off the ship White Lion and saw the British faces, they didn’t know.
As their feet touched Jamestown, Virginia, they didn’t know their lives would never be the same. They didn’t know they would never see their community again.
Maybe they did remember the waters on the other side of the Atlantic Ocean surging into the Cuanza River that flowed into their West African homeland. Maybe they did not, too weary from the Middle Passage to picture Ndongo.
The West African nation of Angola derives its name from ngola, the royal title of Ndongo’s head of state. The twenty Ndongo people who arrived in Jamestown in August 1619 had likely been seized in a slave raid earlier that year in modern-day Angola and brought to the Portuguese port colony of Luanda unaware that they were pregnant with a new community.
In Luanda, they joined about 350 other captured Ndongo people, all now herded like chattel onto the São João Bautista. The Portuguese slave traders set sail for Spain’s plantation colony of Vera Cruz, Mexico. But they never arrived. The White Lion, an English privateer captained by John Jope, and another English privateer, the Treasurer, attacked in the glistening Caribbean waters. Not as abolitionists. As warriors against Europe’s declining superpower at the time: Spain.
The men-of-war kidnapped from the kidnappers a community of sixty or so enslaved people, probably the healthiest and youngest aboard. They divided the human bounty between the Treasurer and the White Lion and headed north to the British colonies.
The twenty or so Ndongo people went into labor as the White Lion sailed up the Atlantic. Historical forces were shaping this community—and the community was shaping historical forces. The community delivered—and was delivered—on Virginia’s shores on August 20, 1619, the symbolic birthdate of African America.
The Ndongo people were not the first people of African descent to land in the Americas. The first arrived before Christopher Columbus. Some people from Africa may have joined Spanish explorers on expeditions to the present-day United States during the sixteenth century. A revolt of enslaved Africans prevented Spanish slaveholders from establishing plantations in current-day South Carolina in 1526. “A muster roll for March 1619 shows that there were already thirty-two African slaves” in Virginia, historian Thomas C. Holt explained. But no one knows how or when they arrived. No one knows the precise birthdate of African America.
Perhaps no one is supposed to know. African America is like the enslaved woman who tragically never knew exactly when she was born. African America is like the enslaved man who chose his own birthday—August 20, 1619—based on the first record of a day when people of African descent arrived in one of the thirteen British colonies that later became the United States. Since 1619, the people of African descent arriving or born in these colonies and then the United States have comprised a community self-actualizing and sometimes self-identifying as African America or Black America. African speaks to a people of African descent. Black speaks to a people racialized as Black.
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Black America can be defined as individuals of African descent in solidarity, whether involuntarily or voluntarily, whether politically or culturally, whether for survival or resistance. Solidarity is the womb of community. The history of African America is the variegated story of this more-than-400-year-old diverse community. Ever since abolitionist James W. C. Pennington wrote The Origin and History of the Colored People, the inaugural history of Black America published in 1841, histories of Black America have almost always been written by a single individual, usually a man. But why not have a community of women and men chronicling the history of a community? Why not a Black choir singing the spiritual into the heavens of history? Four Hundred Souls: A Community History of African America, 1619–2019 is that community choir for this historic moment.
Award-winning historian and editor Keisha N. Blain and I assembled a community of eighty Black writers and ten Black poets who represent some of the best recorders of Black America at its four-hundred-year mark. The community is a remarkable sampling of historians, journalists, activists, philosophers, novelists, political analysts, lawyers, anthropologists, curators, theologians, sociologists, essayists, economists, educators, poets, and cultural critics. The writing community includes Black people who identify (or are identified) as women and men, cisgender and transgender, younger and older, straight and queer, dark-skinned and light-skinned. The writers are immigrants or descendants of immigrants from Africa and the African diaspora. The writers are descendants of enslaved people in the United States.
Most of the pieces in this volume were written in 2019. We wanted the community to be writing during the four-hundredth year. We wanted Four Hundred Souls to write history and be history. Readers of this communal diary will forever know what Black Americans were thinking about the past and present when African America symbolically turned four hundred years old.
Each of the eighty writers here chronicles a five-year span of Black America’s history to cover the four hundred years. The volume’s first writer, the Pulitzer Prize–winning creator of The 1619 Project, journalist Nikole Hannah-Jones, covers from August 20, 1619, to August 19, 1624. The volume’s final writer, Black Lives Matter cofounder Alicia Garza, covers from August 20, 2014, to August 20, 2019. Each piece has been written distinctively while being relatively equal in length to the others, making for a cohesive and connected narrative with strikingly different—yet unified—voices. A choir.
And collectively this choir sings the chords of survival, of struggle, of success, of death, of life, of joy, of racism, of antiracism, of creation, of destruction—of America’s clearest chords, year after year, of liberty, justice, and democracy for all. Four hundred chords.
Each piece revolves around a person, place, thing, idea, or event. This cabinet of curiosities of eighty different topics from eighty different minds, reflecting eighty different perspectives, is essential to understanding this community of difference that has always defined Black America.
Four Hundred Souls is further divided into ten parts, each covering forty years. Each part concludes with a poem that recaptures its span of history in verse. These ten poets are like lyrical soloists for the choir, singing historical interludes. Sometimes history is best captured by poets—as these ten poets show. Indeed, the first verses sprang from those original twenty Ndongo people.
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Virginia’s recorder general John Rolfe, known as Pocahontas’s husband, produced Black America’s birth certificate in 1619. He notified Sir Edwin Sandys, treasurer of the Virginia Company of London, that “a Dutch man of Warr…brought not any thing but 20 and odd Negroes” and traded them for food.