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Saints at the River and Selected Poems

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Ecologies of the Sacred: A Review of Valérie Loichot's Water Graves

...Water Graves recognizes the album's imbrication with capitalist profit—casting Beyoncé as an embodiment of the capitalistic deity Mami Wata—it doesn't investigate how the economic "interests" underwriting her album inflect and/or...

Goin' to Chicago and African American "Great Migrations"

Introduction Filmed during the 1990s and released on PBS in 2000, Goin’ to Chicago is a sixty minute film about the largest internal movement of people in United States history—the...

LiFT Art Salon: Hammonds House II

...well as class and color lines, I look for imagined black futures in archival holdings. In addition to my research, I work as an assistant curator for the African American...

LiFT Art Salon: Hammonds House

...The Hammonds House Museum. But urban hot spots do not emerge in a vacuum. Instead, they often pop up in black neighborhoods, crowding out institutions vital to artistic and cultural flourishing. Take for example,...

Frank Willis

...I dance in toe shoes to the Beach Boys, in shame. Growing up in Washington I rode D.C. Transit, knew Senators, believed the Washington Monument was God's pencil because my...

Chattanooga, Tennessee images

Chattanooga, Tennessee: Inflatable Figures, Rock City, Lookout Mountain Located on top of Lookout Mountain, Rock City is only six miles from downtown Chattanooga. Woman on Cell Phone and Construction Site...

References
1.	J. Gardner, letter to the editor, St. Augustine Record, July 14, 1914. Public Market Clippings File, St. Augustine Historical Society Research Library.
2.	Dan R. Warren, If it Takes All Summer: Martin Luther King, the KKK, and States' Rights in St. Augustine 1964 (Tuscaloosa, AL: The University of Alabama Press, 2008).
3.	Michael Gannon, ed., The New History of Florida (Gainesville: University Press of Florida, 1996).
4.	Jerald Milanich, Florida Indians and the Invasion from Europe (Gainesville: University Press of Florida, 1995).
5.	Jane Landers, "Spanish Sanctuary: Fugitives in Florida, 1687–1790," Florida Historical Quarterly 62, no. 3 (1984); Jane Landers, ed., Against the Odds: Free Blacks in the Slave Societies of the America (London: Frank Cass, 1996); and Margo Pope, "Slavery and the Oldest City," The St. Augustine Record, December 2, 2001.
6.	See Kathleen Deagan and Darcie MacMahon, Fort Mose: Colonial America's Black Fortress of Freedom (Gainesville: University Press of Florida, 1995); and Jane Landers, "Gracia Real de Santa Teresa de Mose: A Free Black Town in Spanish Colonial Florida," American Historical Review 95, no. 1 (Fall 1990).
7.	For histories of black and indigenous cultures in the southeastern coast region, see Jane Landers, ed., The African American Heritage of Florida (Gainesville: University Press of Florida, 1995); and Kathleen A. Deagan, "Mestizaje in Colonial St. Augustine," Ethnohistory 20, no. 1 (Winter 1973): 55–65.
8.	David Nolan, "Lincolnville, once called 'Africa,' Developed Following Emancipation," The St. Augustine Record, February 23, 2004.
9.	According to the Royal Ordinance, the plaza, surrounded by the most important governmental and ecclesiastical buildings, was to function as the principal recreational and meeting area. In 1598 Governor Gonzalo Mendez de Canzo wrote to the Spanish crown, "After my arrival I caused a market place to be established, where there would be weight and measure, which heretofore had been lacking." From the Florida Master Site File for the public market, found in the Historic St. Augustine Preservation Board Historic Properties Inventory Form. Public Market Clippings File, St. Augustine Historical Society Research Library.
10.	J. Carver Harris, ed., "The Public Market Place," El Escribano: The St. Augustine Journal of History 54 (October 1964): 1–18. The Spanish previously used the market as a guardhouse.
11.	In 1840 a commercial boat basin was created in Matanzas Bay to provide easier ship access to St. Augustine's port. The basin was filled in 1900 and a bridge has spanned the waterway between St. Augustine and Anastasia since 1985. The Bridge of Lions, still standing today, dates to 1927.
12.	Photographers Clippings File, St. Augustine Historical Society Research Library.
13.	Harris, ed., "The Public Market Place."
14.	St. Augustine's obelisk may be the only monument dedicated to the Spanish Constitution in the Western Hemisphere. "Art Images of Monument to the Spanish Constitution of 1812," The St. Augustine Record, September 8, 2011.
15.	Founded in September 1866, the Ladies Memorial Society consisted of socially prominent white St. Augustine women, mostly wives and relatives of Confederate soldiers.
16.	David Nolan, interview with the author, March 22, 2012; City Commission Meeting notes: "City of St. Augustine, Regular City Commission Meeting, April 27, 2009," accessed April 1, 2012, http://www.staugustinegovernment.com/your_government/documents/CCMinutes04.27.09.pdf. The racial population of St. Augustine has changed since the 1960s, with an influx of white notherners in the 1970s–1990s. Whereas the black population hovered around twenty-five percent in the 1960s, today it is below ten percent. Zach Gray, "Racism in St. Augustine, Not Just a Thing of the Past," Flagler College Gargoyle, April 26, 2012.
17.	Joseph Boles, Jr. (speech, Foot Soldiers Monument dedication ceremony, St. Augustine, FL, May 14, 2011).
18.	Young and other demonstrators referred to the public market as the "slave market." As he writes in his memoir, "The destination of the marches in St. Augustine was the old slave market, which was unfortunately drawing large crowds of unruly whites who gathered each night to harass, threaten, and sometimes strike out at marchers." Andrew Young, An Easy Burden: The Civil Rights Movement and the Transformation of America (New York: Harper Collins, 1998), 291.
19.	David Nolan, interview with the author, March 22, 2012.
20.	For examples of the term "slave market" used prior to the 1880s, see Earnest A. Meyer, "Childhood Memories" reprinted in El Escribano: The St. Augustine Journal of History 44 (2007): 204, in which Meyer depicts the "slave market" dated 1875. An illustration in Frank Leslie's Illustrated Newspaper from May 1878 also depicts the "slave market." A portrait bust of female slave Nora August, inscribed in part, "purchased from the Market, St. Augustine, Florida April 17th 1860" is found in the sculpture collection at the Museum of the Confederacy, see Museum of the Confederacy, Before Freedom Came: African American Life in the Antebellum South (Richmond: Museum of the Confederacy and University of Virginia Press, 1991), cover, 8.
21.	Ralph Waldo Emerson, Journals of Ralph Waldo Emerson, ed. Edward Waldo Emerson and Waldo Emerson Forbes (Boston: Houghton Mifflin, 1909), 177, quoted in Len Gougeon, Virtue's Hero: Emerson, Antislavery, and Reform (Athens: University of Georgia Press, 1990), 33. Henry L. Richmond, "Ralph Waldo Emerson in Florida," Florida Historical Quarterly 18, no. 2 (October 1939): 75–93.
22.	Gougeon, 33.
23.	County Deed Book, 24, 126, 288. Public Market Clippings File, St. Augustine Historical Society Research Library. These slave sales and others are also documented in E. W. Lawson, "The Slave Market," Today in St. Augustine, May 21, 1939. Public Market Clippings File, St. Augustine Historical Society Research Library.
24.	Auction advertisement from the East Florida Herald, October 31, 1827. Also recorded in Deed Book F, 394.
25.	Public Market Clippings File, St. Augustine Historical Society Research Library.
26.	David Nolan, "Slaves Were Sold in Plaza Market," St. Augustine Record, September 27, 2009.
27.	Griffin, Patricia, ed., The Odyssey of an African Slave (Gainesville: University Press of Florida, 2009).
28.	Walter Johnson's Soul by Soul: Life Inside the Antebellum Slave Market (Cambridge, MA: Harvard University Press, 2001) examines the New Orleans slave market, North America's largest, where over 100,000 slaves were sold. While the rate of exchange in New Orleans vastly exceeds that of St. Augustine, Johnson's account of slave narratives, slave-owner letters, and court records offers insight into the commercial exchanges and human lives in St. Augustine.
29.	Patrons of Flagler's St. Augustine's hotels were wealthy white vacationers. Thomas Graham, Flagler's St. Augustine Hotels: The Ponce de Leon, the Alcazar, and the Casa Monica (Sarasota, FL: Pineapple Press, 2004).
30.	The Ponce de Leon Hotel, which opened to great fanfare in 1888, is now the home of Flagler College. The Alcazar now houses City Hall and the Lightner Museum. The Cordoba still operates as a hotel, renamed the Casa Monica.
31.	The first artist in residence at the Ponce de Leon studios was Flagler's friend Martin Johnson Heade. Artists who depicted the public market in their paintings include William Staples Drown, Robert S. German, Frank Shapleigh, and Felix de Crano. Sarah Barghini, A Society of Painters: Flagler's St. Augustine Art Colony (Palm Beach, FL: Henry Morrison Flagler Museum, 1998). To view the paintings depicting the market, see Gary Libby, ed., Reflections: Paintings of Florida 1865–1965. From the Collection of Cici and Hyatt Brown (Daytona Beach, FL: Museum of Arts and Sciences, 2009); Gary Libby, ed., Celebrating Florida: Works from the Vickers Collection (Daytona Beach, FL: Museum of Arts and Sciences, 1995); and Maybelle Mann, Art in Florida 1564–1945 (Sarasota FL: Pineapple Press, 1999).
32.	Tom Phillips, The Postcard Century (London: Thames and Hudson, 2000); Marian Klamkin, Picture Postcards (New York: Dodd and Mead, 1974).
33.	Postcards promoting relics of slavery to tourists are not unique to St. Augustine; other slave market sites are discussed below. In addition, Jim Crow era postcards often depicted grotesque illustrations of racism and segregation such as lynching. For an extensive discussion of lynching postcards see Amy Louise Wood, Lynching and Spectacle: Witnessing Racial Violence in America, 1890–1940 (Chapel Hill: University of North Carolina Press, 2009). Wood notes that lynching postcards, like slave market postcards, "deemed these events both customary and spectacular." Inscribing and circulating lynching postcards "substantiate[d] white supremacist views," normalizing the inhuman practice and packaging it as entertainment. Wood, 108. The slave market postcards operate similarly, sanitizing the human slave trade into sentimental nostalgic keepsakes. George Fredrickson discusses the romantic image of blacks in The Black Image in the White Mind: The Debate on Afro-American Character and Destiny, 1817–1914 (New York: Harper & Row, 1971).
34.	Maurie McInnis, Slaves Waiting for Sale: Abolitionist Art and the American Slave Trade (Chicago: The University of Chicago Press, 2011), 220.
35.	Ibid.
36.	Nina Silber, The Romance of Reunion: Northerners and the South: 1865–1900 (Chapel Hill: The University of North Carolina Press, 1993), 67.
37.	Ibid.
38.	Ibid., 2.
39.	Prior to 1912 the postcard appeared in black and white and was printed in color after 1912. Robert R. Goller, "North and South With W.J. Harris, Photographer," El Escribano: The St. Augustine Journal of History 28 (1991): 38; Robert Bogdan and Todd Weseloh, Real Photo Postcard Guide (Syracuse, N.Y.: Syracuse University Press, 2006), 245.
40.	Goller, 38. The text on the front of the postcard reads, "Old Slave Market, St. Augustine, Florida." The verso text reads, "The old slave market in the east end of the Plaza is an interesting landmark of antebellum days. Built in 1840." A later version was amended to include on the reverse, "It was used as a public market in which slaves were occasionally sold. Old Slave in foreground."

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