What a curious phrase, ”the final democracy”! The final democracy could be realized only with the registering of the cadences of the black literary voice. This idea has such a long and intricate history in black letters that one could write a book about it. Suffice it to say here that W. H. A. Moore received it from writers such as E. Fortune, Jr., who in 1883 published an essay on ”The Importance of Literature: Its Influence on the Progress of Nations,” and found these ideas
echoed in essays such as a 1905 New York Age editorial entitled “Dearth of Afro-American Writers,” in which T. Thomas Fortune argued that “the capacity of a race is largely measured by the achievements of its writers, in whom its natural vigor and perspicuity of intellect, its highest moral revelations and its most delicate and beautiful emotions should reach consummation.” These statements are only two of many more. A New Negro would signify his presence in the arts, and it was this impulse that lead, of course, to the New Negro Renaissance of the twenties.
Fighting for Both Sides in the War
Charles Ball, as a free man, was lucky enough to have a choice. Besides the Navy and privateering, there were even a few black battalions in the American army. But for most American slaves, the options were limited to the British navy. When the British fleet arrived in the Chesapeake Bay in March 1813, entire families of slaves made their way by canoe to the enemy ships. The British commanders had orders to welcome these refugee slaves, but also to take care not to encourage an outright rebellion against their white masters. The British did not want insurrection among blacks to spread to their own slave-holding territories in the West Indies.