Introduction

The Introduction presents the book’s main argument that Madam C.J. Walker was not simply a charitable entrepreneur, but rather a great African American and American philanthropist who practiced a distinctive racialized and gendered approach to giving that simultaneously relieved immediately felt needs in her community and thwarted the systemic oppression of the Jim Crow system. The chapter begins by articulating Walker’s embodied philosophy of philanthropy as a “gospel of giving” that started in her twenties when she was a poor, suffering migrant in St. Louis and expanded as she gradually acquired wealth and other resources over time. Her model of giving contrasted greatly with prevailing contemporary approaches by elite white male and female philanthropists who waited until late in their lives to give after accumulating or acquiring wealth. The chapter explores reasons for the absence of Walker and African American donors from major historical fields that have examined philanthropic giving in America. It uses black women’s history to overcome this omission by situating Walker within the larger context of the activism, community work, and fundraising of nineteenth- and twentieth-century black clubwomen, churchwomen, and educators. The chapter constructs generosity as a framework for naming and reclaiming black women as philanthropists. It concludes by noting how Walker, as an example of black women’s giving, challenged core assumptions about the relationship between philanthropy and wealth, women, African Americans, and business. The result is a presentation of black women’s generosity as a long-standing, deeply rooted historical tradition of philanthropy that is alive and well today.

Madam C. J. Walker's Gospel of Giving

Madam C. J. Walker’s Gospel of Giving: Black Women’s Philanthropy during Jim Crow presents the first comprehensive story of Walker’s philanthropic giving arguing that she was a significant philanthropist who challenged Jim Crow and serves as a foremother of African American philanthropy today. Born Sarah Breedlove (1867-1919) to formerly enslaved parents on a cotton plantation during Reconstruction, Madam C. J. Walker became a beauty-culture entrepreneur and was known as America’s first self-made female millionaire. This book presents the story of Madam Walker’s philanthropic actions through the author’s use of historical methods and archival research. The result is a philanthropic biography that reinterprets Walker’s life, legacy, and meaning through giving. Using analytical frameworks from philanthropic studies and black women’s history, the author constructs the appropriate lenses for interpreting Walker’s lived experiences as a philanthropist through her own words, motivations, relationships, and actions. Organized around five types of gifts that Walker made—opportunity, education, activism, material resources, and legacy—the text illustrates the broader cultural contexts and philanthropic practices of generosity that informed black women’s lives and giving at the beginning of the twentieth century. Madam Walker’s Gospel of Giving provides a different view of who counts as a philanthropist and what counts as philanthropy in the public and scholarly conversations dominated by the perspectives of white wealthy elite donors. It reclaims and names black women as philanthropists using Walker as an example.

In Search of the Black Women's History Archive

Questions of evidence have sat at the center of black women's history since the field entered the academy over thirty years ago. Historians of black women's lives and labors have filled bookshelves by “mining the forgotten” to render them visible. Scholarship pioneered in the 1980s and 1990s established black women as prominent and indispensable historical actors, and key to understanding such eras as slavery, the Civil War, and the Civil Rights movement. Subsequent works built upon the bedrock that these initial studies provided, incorporating nuanced gender analyses into the history of black women's thought, experiences, and political action. The past ten years have seen a proliferation of publications that have extended the reach of the field to include such genres and approaches as girlhood studies, intellectual history, and black internationalism. This groundswell of research has foregrounded a persistent methodological quandary for scholars of black women's history: how should they address the paradox of simultaneously finding copious archival records on some black women, while also accounting for the deafening archival silence on others?

Resistance Reimagined

A reimagining of liberal ideologies of selfhood, privilege, and consent is a significant legacy of nineteenth-century black feminist knowledge production. Yet, analyses of black women’s critical engagement with theliberal problematic—the disjunction between democratic promise and dispossession, between freedom and subjection in the American nation-state—remain incomplete. Resistance Reimagined: Black Women’s Critical Thought as Survival repositions a spectrum of discourses, from canonical nineteenth-century American literary studies to black women’s history, to interrogate black women’s disruptions of the liberal problematic as a medium of resistance. It deploys African-Americanist and feminist literary criticism by scholars such as Saidiya Hartman and Lindon Barrett, post-1960s histories of enslavement and black political consciousness by Stephanie M. H. Camp, and rhetorical theories developed by Shirley Wilson Logan and Vorris Nunley, to expand the bounds of contemporary critical inquiry in two key ways. First, Resistance Reimagined spotlights nineteenth-century black women’s intervention into the effects of liberalism as juridical, economic, and affective performance. This unsettles sedimented perspectives of black resistance as inherently militant, male, and vernacular, while problematizing how scholars have read nineteenth-century African-American women’s activism—against Sojourner Truth or Ida B. Wells-Barnett, for instance—as inauthentic or accommodationist. Second, the text juxtaposes early writers and thinkers, including Harriet Wilson, Elizabeth Keckly, and Anna Julia Cooper, with authors of modern neo-slave narrative, including Sherley Anne Williams, to grapple more effectively with the neoliberal present.