On view
Album of abolitionist cartes-de-visites,
ca. 1856–64
wwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwhat iiiiiiiiiiiis aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaabolition? not only tttttttttttttttttttttto act but, failing, tttttttttttttttttttttttttttttttttttttttttttttttttttttttto listen on loop to allow ththththththththththththththththththththththththththththththe bodymind to move toward what is hard land. bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbackbreaking attention to the three different hues of yellow on this Eastern Tiger SSSSSSSSSSSSSSSSSSSS SSwallowtail. an album is a fruit bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbearing seeds. what seeds for abolition does stuttering bear?
Jerome Ellis, poet, musician, artist, and proud stutterer
Author’s note: I want to thank my wife, Luísa Black Ellis, for listening to me read this text aloud to her. The repeated letters show which syllables I stuttered on, and the relative duration of those stutters.
More Context
<p>This album presents a collection of twenty-six photographs, including iconic images of leaders of the American abolitionist movement. These are cartes de visite, photographs printed at a standard size and mounted on cards in a form that allowed individuals to collect and trade images of both friends and celebrities. In this album, as was typical of the era, photographs of the family and friends of the album’s original owner share pages with images of political figures, including Abraham Lincoln, Sojourner Truth, and Frederick Douglass, as well as important individuals in the abolitionist movement and anti-slavery leaders, such as William Lloyd Garrison, Lucretia Mott, Salmon P. Chase, Anna E. Dickinson, Wendell Phillips, Theodore Tilton, and George Truman. The majority of these images were taken by the Philadelphia photographer John White Hurn, and it is plausible that this album was put together in that city. While we have no further clues about the album owner’s identity, they seem to have held strong anti-slavery sentiments. </p>
Information
ca. 1856–64
North America, United States, Pennsylvania, possibly Philadelphia
