Slavery, the Smithsonian and Stoneham

African slaves first arrive in Boston in 1638

Our President is attacking the Smithsonian for its portrayal of slavery. He wants exhibits that show the horrors of slavery taken down. We don’t want our children to get the wrong idea.

It reminds me of comments I heard in the ‘60s. Comments like, most slave owners treated their slaves like family. Or, slaves benefited from slavery because they could learn a trade—a viewpoint recently written into the Florida public schools curriculum.

Which brings me to a document that surfaced this summer in the Stoneham Public Library titled “A History of the Black in Stoneham.” Written in 1969, it was published in the Stoneham Independent.

Disregarding the awkward reference to “the Black,” the reader is left with the impression that slavery was not so bad.

The article covers three periods, Colonial, pre-Civil War, and modern, and provides much good information. But it starts to break down when it compares slavery to indentured servitude, implying little difference. The authors failed to distinguish between the contractual—and finite–obligations of the indentured person and the ownership in perpetuity of slaves and their offspring. In other words, barring exceptional actions by their owners, enslaved men, women and children labored with no rights and no expectation of freedom. They were chattel.

That hopelessness is expressed in the will of one slave owner: “I bequeath unto my son … one negro woman named Fanny and her children now in his possession and one Negro man named Harry and all their increase to him and his heirs forever.”

A few of the article’s statements about enslaved people in Stoneham can only be described as absurd, like this one:  “They were all shoemakers and they laid stone walls, but none was exploited!” And another: “Conditions must have been good because free blacks settled here.”

As we celebrate three hundred years of our history, it’s important to understand the role slavery played in Stoneham. It’s important to know that apart from how individuals were treated and the degree of physical trauma or deprivation they endured, they would have suffered deep and lasting psychological wounds.

Some basic facts. From the colonial period, we have records of some three dozen enslaved men, women and children in Stoneham. Named and unnamed, they show up in church and town records, wills and inventories. Like a “Negro woman and her children” mentioned in Daniel Green’s will. Like the 8-year-old “Mulatto Negro” purchased by James Hay in 1744.

Like “a Negro named Cato, the son of Simon, a Negro servant of Deacon Green,” or a maid named Dinah, owned by the school teacher William Toler.

Like a woman named Phebe, purchased that same year for 75 British pounds by the Rev. James Osgood, and listed along with his house furnishings after his death as simply, “a Negro Woman—70 £.”

Like Jack Thare, 40, “a servant of Joseph Bryant, Jr.,” one of six free or enslaved Black men from Stoneham who fought at Bunker Hill. When Jack failed to return from his enlistment, his master posted a fugitive want ad. Here’s what it said:

Ran away from the subscriber on the 24th of February, a Negro fellow, named Jack, of a — stature, has lost his upper teeth; had on when he went away, a blue coat, with large white buttons. Whoever will take up said Negro, and convey him to the subscriber in Stoneham, shall have three dollars reward. Joseph Bryant, Jr.

The 1969 article on Blacks in Stoneham was published the year I graduated from college. Our nation was still reeling from the assassination of Martin Luther King, Jr. We were being challenged to examine not only our actions and prejudices, but a long history of subjugation and dehumanization of Black people.

As we celebrate our Tricentennial, let’s look honestly at our history. The value of doing so is that it will affect who we will become. By insisting that we tell the truth about our past, we commit to embracing the full humanity of all those around us.

At the Corner of WALK and DON’T WALK

Let’s you and me have a little talk

I’ll meet you at the corner of WALK and DON’T WALK

No need to call me ‘fore you leave

Just have an inclination to believe

We’ll stretch our legs figure out where we’re going

There’ll be a little rappin’ and a little foolin’

But don’t worry our destination’s not far

Cause where we’re going is where we are

That’s right didn’t you know it all along

The journey is a circle so goes the song

The last one to leave is the first to arrive

Take slow steps but lengthen your stride

The start is the end and the end the start

We’re talking now about matters of the heart

So time to put on your walking shoes

We don’t have any time to lose

The road may be rough it may be steep

And you never know who you’re going to meet

The friends you make and the love you show

Will bring you back to all you know

So let’s you and me have a little talk

I’ll meet you at the corner of WALK and DON’T WALK

No need to call me ‘fore you leave

Just have an inclination to believe

The Smile of the Nightwatchman’s Daughter

Is it you then that thought yourself less?

The question, posed long ago by Walt Whitman, is still fresh in my mind. It’s a line from “Song for Occupations,” Whitman’s ode to the working class, published in 1855. In intimate conversation with the reader, the poet is clarifying what is of most value in our lives.

The question resonates today as then. Who among us has not, in a society that values wealth and achievement above all else, felt themself to be less?

I remember asking that question of my students years ago as we sat around a long table at a Massachusetts public college, reading aloud Whitman’s poems. The course was New World Voices, and the bard from Long Island was the foundation. 

Whitman was a contemporary of Ralph Waldo Emerson, Emily Dickinson, and Edgar Allan Poe, yet his poems are nothing like theirs. He exploded all poetic norms to fashion a new American verse, free verse. He loved the vernacular and the natural rhythms of  speech. The pal of workers and prostitutes, fugitives and suffragists, he called for democracy to extend into all aspects of human life, including the home.

When I taught Whitman, we’d begin with “When I Heard the Learned Astronomer.” In this poem, the narrator listens to a lecture on astronomy, but tiring of this, walks out to an open field to gaze directly at the stars. 

Next, we would read “Song of Myself,” Whitman’s 52-stanza celebration of being alive, the heart of “Leaves of Grass.” But it was when we came to “Song for Occupations” that I sensed my students most identified with the poet’s words.

In this six-part poem, Whitman catalogs working people in cities and farms — plowers, milkers, millers, ironworkers, glassblowers, sailmakers, cooks, bakers, carpenters, masons, surgeons, and seamstresses.

The poem, published in 1855, is vibrant in detail, cataloging both laborers and their tools.

The pump, the piledriver, the great derrick . . the coalkiln and brickkiln, Ironworks or whiteleadworks . . the sugarhouse . .  steam-saws, and the great mills and factories; 

The cottonbale . . the stevedore’s hook . . the saw and buck of the sawyer . . the screen of the coalscreener . .  the mould of the moulder . . the workingknife of the butcher; 

The cylinder press . . the handpress . . the frisket and tympan . . the compositor’s stick and rule 

“Why should we care?” I remember asking my students — themselves the sons and daughters of carpenters and electricians, nurses and social workers, teachers and technicians.

After a pause, one young woman answered: “Because it all matters. Our lives and the work we do matters.”

She had, of course, identified the central theme of Whitman’s art: the immeasurable value of each human being, regardless of class, gender, race, religion, or occupation. Aware of society’s prejudices, Whitman returns to this theme again and again.

Is it you then that thought yourself less?

Is it you that thought the President greater than you? Or the rich better off than you? Or the educated wiser than you?

If so, he has an answer:

I bring what you much need, yet always have, / Bring not money or amours or dress or eating . . . . but I bring as good.

It eludes discussion and print, / It is not to be put in a book . . . it is not in this book.

In the cadences of a preacher he continues:

You may read in many languages and read nothing about it; / You may read the President’s message and read nothing about it there: / Nothing in the reports from the state department or treasury department . . . . or in the daily papers or the weekly papers, / Or in the census returns or assessor’s returns or prices current or any accounts of stock.

Today, as then, I can still hear Whitman whisper:

The sum of all known value and respect I add up in you whoever you are; / The President is up there in the White House for you . . . . it is not you who are here for him.

What Whitman offers in this poem is the gift of ourselves and those around us, an acceptance enriched by his democratic vista. In line after line he reminds us that we are, ourselves, the goal of science, art, laws, politics, commerce —  and, yes, education.

It’s a good lesson for all, because it affirms what is of most value in a society prone to power mongering and elitism. And it’s a tender reminder that happiness is not tied to wealth, but to other human beings.

Whitman closes “A Song for Occupations” with an elegant affirmation. Praising the singer over the psalm, the preacher over the sermon, the carpenter over the pulpit he carved, he exclaims:

When a university course convinces like a slumbering woman and child convince, 

When the minted gold in the vault smiles like the nightwatchman’s daughter . . . I intend to reach them my hand and make as much of them as I do of men and women.

Walt Whitman’s voice is good medicine for us today. Wherever we are, in a classroom or on the subway, he calls us to our shared humanity. Open your eyes, he is saying, to those around you, whether engineer or washer woman. And keep a lookout for the smile of the night watchman’s daughter.

Art: Walt Whitman. Steel engraving by Samuel Hollyer from a lost daguerreotype by Gabriel Harrison. Used as frontispiece in 1855 (1st) edition of Leaves of Grass. Library of Congress Prints & Photographs Division: //hdl.loc.gov/loc.pnp/cph.3b29437

Note: This essay was published by the Boston Globe on August 3, 2025.