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Stephanie Barczewski

‘amongst so many . . . West India overgrown fortunes’, even if he found a desirable property, it would probably sell ‘at a rate which it would be by no means prudent for me to give for it’. 17 (The irony of a nabob’s complaining that West Indian planters were driving up real estate prices does not seem to have occurred to him.) Even in the face of all of these difficulties

in Country houses and the British Empire, 1700–1930
Barbadian poverty and British nation-building
Mary Chamberlain

denied, and the planters were able to maintain their regime of low, punitive, wages. Wages paid to agricultural workers were the lowest in the British West Indies, as the 1930 Report of the West Indian Sugar Commission confirmed. The rate remained more or less the same by the time the Deane Commission reported in 1937, when the average for a male labourer was 30 cents (or one shilling) a day. 7 It had

in Empire and nation-building in the Caribbean
Abstract only
British country houses and empire, 1700–1930
Stephanie Barczewski

and, at times, blended. 31 As a case in point, it is rarely noted that three of Britain’s greatest country-house architects – Sir John Vanbrugh, Robert Adam and Sir Edwin Lutyens – can all be closely linked to empire. Sir John Vanbrugh was the son of a Chester-based merchant who dealt in West Indian sugar. His paternal ancestors the Jacobsens were early investors in the East India and Virginia Companies

in Country houses and the British Empire, 1700–1930
The ‘Negro menace’ of 1919
Peter Hulme

The Struggling Mass , no copy of which has survived. 4 In August 1910 Domingo moved to Boston where one of his sisters ran a boarding house for Jamaicans. He attended night school there before moving to New York in 1912, where he worked in a variety of menial jobs while trying to establish an import business, and then during the war he worked for the Post Office. He may already have known fellow West Indians, Richard B. Moore (Barbados) and Cyril Briggs (Nevis): he certainly worked with them as part of Hubert

in Revolutionary lives of the Red and Black Atlantic since 1917
Marie Mulvey-Roberts

‘The What Is It?’, representing the polar opposite of ‘the Model Man ’. 15 At the time of Canning’s parliamentary speech, the stage version of Frankenstein at Covent Garden was double-billed with a popular comedy by Richard Cumberland called The West Indian , whose eponymous hero, Belcour, has newly arrived in London. As a Creole, he found himself in an uncomfortable social position. Another of

in Dangerous bodies
Scripts for slavery’s endings
Anita Rupprecht

between consent and coercion. Courts of Vice-Admiralty were to be established at Freetown in Sierra Leone and on several West Indian islands. Each colony’s Collector of Customs – dealers in contraband – was made responsible for administering the passage of the Africans into the armed forces or indentured servitude. If an African’s name was ‘unknown’ or not ‘sufficiently easy, clear, and distinctive’, the Collectors were instructed to find another, and then to use that name thereafter until the individual was ‘sufficiently instructed for baptism’, whereupon that name

in Emancipation and the remaking of the British imperial world
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The culture of free trade versus the culture of anti-slavery in Britain and the British Caribbean, 1840–50
Philip Harling

production. But after emancipation they were seen to protect the ‘great experiment’ in free-labour sugar from the slave-made sugar of Cuba and Brazil, which was cheaper to produce and taking an ever-growing share of the world market. So widely felt was the need to safeguard British West Indian ex-slaves and planters from direct competition with slave sugar in 1833 that MPs rejected the Radical free

in The cultural construction of the British world
Abstract only
Catherine Hall
,
Nicholas Draper
, and
Keith McClelland

duties after 1846. We have tracked the compensation money going into a range of financial sectors from marine insurance and merchant banking to railways, investigated the continued political influence of a group of West Indian merchants and planters, especially in relation to the sugar duties and indenture, and analysed the volume of writings from a range of former slave-owners and their descendants concerned with reconfiguring race after slavery. We have also explored the philanthropic, physical and imperial legacies of these men and women that can be traced in key

in Emancipation and the remaking of the British imperial world
Kevern Verney

of the North. 37 Several studies focused on the experience of West Indian immigrants to the United States, examining their relationship with existing black urban communities and recent southern migrants. Historians Patrick Renshaw and David J. Hellwig highlighted the justified reputation of West Indian settlers for success in business and ethnic and family solidarity, factors that made them both a source of resentment and admiration for native black Americans

in The debate on black civil rights in America, Second edition
Evan Jones’s The Damned (1961), Eve (1962), King and Country (1964) and Modesty Blaise (1966)
Colin Gardner

discontinuity. Perhaps the most underrated of these ‘writerly’ collaborations are the four films that Losey made with the West Indian screenwriter Evan Jones in the early 1960s. The pair first worked together on The Damned (1961), when Jones (who until then had worked largely in television) was brought in at the last minute for a hurried rewrite of Barzman’s original script. Losey had discovered the writer through

in Joseph Losey