What Is Coras Perception Of Freedom In Underground Railroad Chapter 1? (Solved)

What happens in Chapter 1 of the Underground Railroad?

  • The Underground Railroad Chapter 1: Ajarry Summary Analysis. LitCharts assigns a color and icon to each theme in The Underground Railroad, which you can use to track the themes throughout the work. When Caesar first asks Cora to flee to the north, she says no; this refusal is related to the experiences of Cora’s grandmother, Ajarry.

Does Cora find freedom in the Underground Railroad?

Cora does get a taste of freedom at the end of The Underground Railroad. She manages to find a wagon that is drive by a Black man who is heading west. He offers her a ride, but she’s not too certain about him at first. That’s not surprising considering how some of the Black people have reacted in the past.

What happened to coras mom in underground?

While Cora avoided the snake, her mother wasn’t so lucky. Just as Mabel realizes that she’s in the swamp and is about to go back for her daughter, she is bitten by the venomous snake. Mabel dies in the swamp, never to be found by anyone.

Who were the freedom seekers in the Underground Railroad?

These freedom sympathizers were known as “abolitionists.” The angry slave owner was heard to say, “He must have gone off on an underground railroad.”

Who was Cora Randall?

Cora Einterz Randall is an atmospheric scientist known for her research on particles in the atmosphere, particularly in polar regions.

What did Royal do to Cora?

Of course Cora carries them with her. This exchange occurs at the tail end of a date in which Royal has taken Cora horseback riding and taught her how to shoot a gun.

Why did Cora’s mother leave her?

Her hopelessness had gotten to her, but she felt that having left just for that little while, and having gone as far as she did, was enough to feel free for now. She intended to let Cora know there was something past what she knew, and that she could have it for herself some day.

What happened to Lovey in the Underground Railroad?

She secretly decides to join Cora and Caesar’s escape mission but she is captured early in the journey by hog hunters who return her to Randall, where she is killed by being impaled by a metal spike, her body left on display to discourage others who think of trying to escape.

What happened to Grace on the Underground Railroad?

In the book, Cora is alone up there for seven months. In the show, she has a younger runaway slave named Grace to “guide” her. She doesn’t appear in the book and for three whole episodes of The Underground Railroad, we are led believe she died in the flames that consumed the Wells house.

What did the compromise do?

The Compromise of 1850 contained the following provisions: (1) California was admitted to the Union as a free state; (2) the remainder of the Mexican cession was divided into the two territories of New Mexico and Utah and organized without mention of slavery; (3) the claim of Texas to a portion of New Mexico was

How many slaves escaped to freedom using the Underground Railroad?

The Underground Railroad and freed slaves [ estimated 100,000 escaped ] Not literally a railroad, but secret tunnels of routes and safe houses for southern slaves to escape to Canda for their freedom before the Civil War ended in 1865.

What role did the Underground Railroad play?

The Underground Railroad provided hiding places, food, and often transportation for the fugitives who were trying to escape slavery. Along the way, people also provided directions for the safest way to get further north on the dangerous journey to freedom.

Is Underground a true story?

Underground’s stars say the same. So while Underground is not based on any specific real people, it proves that you can still be very faithful to history without following the events of a single person’s life.

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When Caesar initially urges Corato to go to the north, she refuses, citing the experiences of Cora’s grandmother, Ajarry, as the reason for her denial. She was stolen from Africa as a youngster, along with her father (Cora’s great grandpa), and was killed by slave traffickers as a result of their abduction. Ajarry is sold several times on the trek to Port Ouidah before being forced aboard a ship with a diverse group of individuals speaking a number of different languages (so as to avoid rebellion).

The surviving members of Ajarry’s family have been relocated to Bermuda as a result of the incident.

These illusions provide her with solace, allowing her to cope with the harsh realities of her existence.

She is auctioned off while completely naked, and she is finally purchased for $226 by a man in a crisp white suit.

  • Throughout the night, she and the other slaves follow the man’s buggy back to his house.
  • It is important to note that there are no facts provided concerning Ajarry’s life of freedom in Africa prior to her kidnapping by slave traders.
  • There are several ways in which Ajarry responds to her imprisonment, as seen in this text.
  • When her suicide attempts are unsuccessful, Ajarry turns to fantasizing about her family for solace, and these dreams eventually become the sole way by which she is able to bear the weight of her fate and endure it successfully.
  • One of her masters goes bankrupt, another dies, and a third loses her in a card game as a result of her mistreatment.
  • It is also via this experience that Ajarry learns about the way she and other “commodities” are valued, and she starts to understand that her worth influences her “possibilities.” Finally, Ajarry finds herself on Randall plantation, where she will remain until the day of her death.
  • Her first husband drinks too much and is belligerent, and he is finally sold; her second husband is a nice, pious guy who dies as a result of an outbreak of cholera.

Throughout the novel, the tale of Ajarry’s recurrent selling and trading, as well as the description of her marriages, show the way in which black life is considered as having no worth other than that of money.

Having Ajarry’s second and third husbands die illustrates how being a slave is synonymous with being surrounded by death on a continual basis.

At the very least, Ajarry is relieved that the children will not be sold.

Eventually, while standing in the cotton fields, Ajarry succumbs to a cerebral bleed and passes away.

This section serves as an introduction to one of the novel’s central questions.

What is the difference between them?

Although it may come as a surprise, the fact that Ajarry grew up in a free environment does not increase her likelihood of fleeing.

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The Underground Railroad Chapter 1: Ajarry Summary and Analysis

The concept of escape is introduced in the very first line of the first chapter. When Caesara requests that Corato accompany him on his journey, she declines, a reaction that the narrator relates to the heritage of Cora’s grandmother, Ajarry. The remainder of the first chapter is devoted to Ajarry’s narrative. An Ajarry is sold into slavery at Ouidah, a port city on the African continent’s Gold Coast. Due to the fact that her mother has long passed away, as well as the fact that her father was slain by slave traffickers on the march to Ouidah when he couldn’t keep up with their march, Ajarry is forced into slavery as an orphan.

  • The fate of Ajarry’s kin is known to the narrator, but not to Ajarry, who is rowed out to theNanny, a seasoned slave trading ship from Liverpool, where he will be sold into slavery.
  • The Nannyis a dreadful experience from start to finish.
  • On arrival in America, she is auctioned off in Charleston, South Carolina in front of a crowd of bystanders who are eating oysters, maize, and sucking on rock candy.
  • Ajarry is branded and dispatched on a march to the South Pole.
  • Depending on the whims of the market, her price might swing significantly.
  • She also learns about worth as she “makes a science out her own black body,” as she puts it.
  • The narrator observes a “new blankness behind her eyes,” which she speculates is the outcome of her findings regarding the worth of a slave.

She had three spouses throughout her first year at her new house.

large fists,” to a sugar-cane plantation in Florida.

The third gets caught stealing honey and dies as a result of the wounds he received as a result of his punishment.

Their deaths are caused by a variety of ailments, including fever, a rusty cut, and a blow from an overseer, yet none of them are sold to the public.

Ajarry dies in the cotton field, alone, as a result of a knot in her head.

Despite this, Ajarry’s existence has been defined by her status as a slave since she was captured by slave dealers in the first place.

In the case of Ajarry, escaping would have been impossible.

Three weeks later, though, she had a change of heart and agrees to go on the run. Cora’s mother, according to the narrator, had a strong effect on her decision.

Analysis

A wide, sweeping summary of the backdrop of slavery is provided in the novel’s opening chapter, setting the stage for how the plot would unfold in the following chapters. It is Ajarry’s account that reveals the brutal linkages of the slave trade between dealers on the Gold Coast in Africa, slave ships sailing under the flags of Portugal and Britain, and eventually the auction blocks of port towns in the United States. Despite the fact that the majority of The Underground Railroad takes place within the borders of America, and more especially, the southern states, Ajarry’s story provides a vital worldwide framework for the exposition to follow.

  1. Ajarry’s journey from slave port to ship to auction to plantation is a familiar one for millions of enslaved Africans throughout history.
  2. However, such a pattern is not so far-fetched as to be outside the realm of possibilities in historical terms.
  3. Ajarry, Mabel, and Cora’s stories are intertwined in this first chapter of The Underground Railroad, which introduces the concept of the mother-daughter bond for the first time.
  4. First and foremost, the novel portrays how slavery is an uniquely gendered experience for his characters, particularly in light of the phenomena of sexual violence that appears in the story.
  5. In the novel’s later chapters, both of Ajarry’s descendants, Mabel and Cora, are raped by their cousins.
  6. The theme of emancipation from slavery is introduced in the novel’s very first line.
  7. As a result, Cora’s actions and judgments are immediately linked to her mother.
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Ajarry’s tale, on the other hand, is constructed as a contrast to the experiences of her descendants, Mabel and Cora, in the first half of the novel.

Ajarry makes repeated suicide attempts while on the slave ship.

Ajarry, on the other hand, is characterized by her status as a slave, as opposed to her descendants, who are identified by their race.

Even her death, which takes place in the cotton fields, reveals the entirety of slavery: Ajarry dies while working for the benefit of her white owner.

Later in the novel, Ajarry’s existence will be juxtaposed with the lives of Mabel and, particularly, Cora, who are motivated to seek independence.

The text, on the other hand, depicts these tragedies in a matter-of-fact manner, giving the text a detached tone.

Also throughout the novel, the narrator zooms out from the action in order to reveal greater geopolitical consequences, which is a storytelling device that is used again throughout the novel.

On Whitehead’s The Underground Railroad : Coles’s On Whitehead’s The Underground Railroad Chapter 1 Summary & Analysis

AjarrySummary She refuses to accompany Caesar, a new slave on the Randall plantation in Georgia, when he approaches her and offers that she join him in escaping. Three weeks later, when she agrees to go away with Caesar, the narrator claims that this reaction is “her grandma talking.” Three weeks after that, she claims that this response is “her mother talking.” The past of Cora’s grandmother, Ajarry, is discussed in this chapter, as well as how her background has inspired Cora. After being abducted by slavers as a youngster, Ajarry and the rest of her community were taken to a slave camp in the heart of Africa.

  • Upon arrival at the port city of Ouidah (now part of modern-day Benin), Ajarry was separated from the rest of her family and sold into slavery on a different ship.
  • She eventually made her way to the American South, where she was sold a number of times until being purchased by a representative of the Randall plantation in Georgia.
  • Aside from her husband, four of her five children perished as well; Cora’s mother Mabel, was the only one to live past the age of ten.
  • Nonetheless, this focus on the Underground Railroad makes sense in the larger context of the Underground Railroad for a variety of reasons.
  • The material contained in several of these brief character profiles is relevant and has an impact on Cora’s tale in a major way.
  • This first chapter accomplishes both tasks.

It seems as though Ajarry’s life has been a series of heartbreaking tragedies after another: the death of her mother, the kidnapping and murder of her father, her own kidnapping by slavers, the separation from family and relatives, failed suicide attempts, being sold repeatedly, the deaths of three husbands and the deaths of four children.

  • Instead, they are succinctly and dispassionately presented in a few few paragraphs.
  • Evil doesn’t require any more embellishment.
  • For the third time in the novel, this chapter emphasizes how important family legacy is as a motif throughout the book.
  • It is “her grandma talking” when she refuses to go away with Caesar; it is “her mother talking” when she accepts Caesar’s invitation to stay with him afterwards.
  • It is possible to connect all of Cora’s dimensions of identity back to her family, including her understanding of herself as an African, as a slave, as a fugitive, as an independent, as an isolated person.
  • When Cora says no to Caesar’s invitation to accompany her on his journey, is it “her grandmother talking” in the traditional sense?
  • She is sold over and over again, she is relocated from place to place, and she loses touch with the majority of the people she cares about.
  • For Ajarry, having a home to call her own — even if it is only a little plot of land — is preferable to the alternatives: death or nothing at all, according to her.
  • This fluctuation heightens the sense of unpredictability that pervades Ajarry’s universe.
  • Human lives are valued at different amounts in different currencies not because the value of humanity fluctuates, but because money is not intended to be a measure of human worth.
  • In fact, the entire work is intentionally imprecise when it comes to specific locales, depending primarily on state names to describe them.

This ambiguity reflects the novel’s wide range of potential applications. Although no specific city is mentioned, it is implied that stories like this one may have occurred anywhere and, indeed, did occur everywhere by the end.

The Underground Railroad: a heartbreakingly beautiful and brutal portrayal of the journey to ‘freedom’

It is a railway platform and you are afraid of missing the train that will take you from servitude to time. I feel like there is so much you haven’t spoken yet. and so little time to say it all.” As the enslaved Cora (Thuso Mbedo) attempts to communicate her truths about the horrible and painful memories of slavery in Barry Jenkins’ breathtakingly raw and harsh adaptation of Colson Whitehead’s novel, The Underground Railroad, a man voice over the sound system talks over the speakers. Cora and Caesar (Aaron Pierce) are on the run from the Randall Plantation in Georgia, which is owned by Terence Randall, who is known for his callous violence against his enslaved laborers from the very beginning of the series.

  1. It is revealed in the first episode that a returning runaway has been set on fire and publicly burnt to death.
  2. For more than two decades, I have been researching and lecturing about slavery in the United States.
  3. The Underground Railroad brings these testimonials to life on screen in vivid and visceral detail, bringing them to life on screen.
  4. It’s possible that violence has a valid point in this context.
  5. It is also somewhat tempered.

No Place to call Freedom

Jenkins accomplishes a superb job of capturing the aesthetic differences between slavery and so-called freedom in his photographs. In the first episode, we witness a group of local slaveholders congregating on Randall’s front yard. A group of slaves smile as a young kid is forced to stumble through a recall of Thomas Jefferson’s “Declaration of Independence,” the foundational text of the American Revolution, which is read aloud by the group. Of course, they are completely unaware of the irony.

  • The sceneries alter as you progress farther into quasi-liberty.
  • Cora is dressed in the most stunning yellow ballgown, having left behind her drab job clothes in the morning.
  • However, as the camera pans farther up the freedom road, to North Carolina, Cora is back in her rags, terrified and desperate.
  • The road leading into town is lined with trees bearing ” odd fruit ” with black and white bodies.
  • White villagers were hanged for harboring fugitives from slavery who were not from their own race.
  • However, when Cora travels farther north, she discovers that racism has just altered its shape, just as it has done historically.
  • According to Cora’s reflections in a later episode, it appears that there are no safe havens.
  • Despite the fact that this adaption is set in the present day, the awful secrets of Griffin in South Carolina and the white supremacist town of North Carolina are a part of a far longer history of racial oppression in the United States.

Jenkins has created a visually disturbing representation of what Whitehead accomplished so movingly in his novel: that the tragic histories of racial terrorism that we connect with slavery have a harsh and violent afterlife.

The sounds of silence

The legacy of the plantation is just as significant now, in the twenty-first century, as it was during the early days of the United States of America. It is Jenkins’ varied and startling, yet always so pertinent, choice of music to accompany the closing titles that most effectively expresses this idea. From Groove Theory’s Hey You to Donald Glover’s This Is America, there’s something for everyone. The connection between the stories of the past and the present is established not just visually, but also orally and aurally.

  • The final episode, which is centered on Cora’s mother, contains nearly little speech.
  • We can hear the ringing of the plantation bell to summon enslaved laborers to work, the snap of the slaveholder’s whip to punish, and the constant ticking of the clock while the captives are subjected to unspeakable horrors.
  • How they negotiated their life in a society in which they were considered legal property was the subject of this study.
  • And how, on a number of occasions, resistance was accompanied by feelings of hopelessness and despair.
  • Cora has a recurring dream in which she is trapped at a physical train station.
  • This dream has a plethora of different Black men and women, both male and female.
  • All of them have interesting stories to tell.
  • Photographs of Black men, women, and children at the station are taken one after another as the camera moves from picture to shot.
  • Old and young; families; old couples; lone people – those who have passed away, but whose stories have not been forgotten.
  • “Can you tell me how much time we have?” she inquires.
  • With these kinds of moments, Jenkins invites the audience to consider the lifetimes of suffering that these people have endured, as well as the requirement of time to relate their stories.

The Underground Railroad Premiere Recap: It’s Time

Photograph courtesy of Atsushi Nishijima/Amazon Studios In the beginning of The Underground Railroad, there is a passage that feels like it is taking place in a dream. Weaving between the visuals of a birth are images we don’t yet understand the context for – whether they are nightmares or visions of what’s to come in the future. We hear her remark, in voice-over, “The first and last thing my mom ever offered me. was apologies,” as she stands on the brink of a body of water and turns to face the camera.

  1. The camera glides up to her and focuses on her.
  2. It’s almost as if she’s looking us straight in the eyes, aware that we’re watching her every move.
  3. It’s a beautiful and lyrical sequence, but it’s also tinged with melancholy.
  4. Cora Randall (portrayed by Thuso Mbedu) is able to flee away from her forced namesake — the Randall plantation on which she was born — in search of a place that offers the slim chance of liberation.
  5. They start off hand in hand in slow motion, but as the speed increases, they begin to drift apart, with Caesar pulling ahead of Cora.
  6. An extended scene that invites us to take pleasure in its restraint, as if the two characters are finally liberated from white men who have been causing them grief throughout the entire episode.
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According to Colson Whitehead’s novel, which has been adapted for the screen, “The first time Caesar contacted Cora about running north, she said no.” It is the subject of this first episode, “Chapter 1: Georgia,” to discover what motivates Cora to consent to the running and to embark on her adventure out of Georgia in search of a legendary railroad that would carry her to freedom.

  • It is the “birthday” of the aged Jockey, and the slaves on the Randall plantation are celebrating by eating and singing.
  • When Terrance Randall enters the room, he is the more outwardly menacing of the two (not that this matters much), speaking negatively about the leniency his brother allows on his part.
  • Terrance beats the youngster with his cane until Cora rushes to his side to shield him.
  • (Thanks to a wide shot taken by director Barry Jenkins, the audience is spared some of the carnage for the time being.) Big Anthony (Elijah Everett), the catalyst for the remainder of the episode’s events, attempts to flee the scene while the party is in progress.
  • Ahead of the party and its ramifications, Caesar informed Cora of his own similar preparations, in the hopes that she would also participate.
  • Caesar, in contrast to Cora, who was born on the Randall plantation, was born in Virginia, where he was under the control of a “kinder” master who promised him manumission if Cora died before he did.
  • He was meant to be a free man, but now he is compelled to labor in the cotton fields, where he is forced to create offspring at the whims of their bosses, which is against the law.

Cora, aware of the danger she is putting herself in and yet feeling abandoned in the wake of her mother’s escape, responds in her own unique way: “I ain’t nobody’s lucky.” Immediately following Cora’s punishment, her friend Lovey (Zsané Jhé) and two other ladies treat to her wounds, all of whom are concerned about her: “When Mabel ran away and fled, I felt like something had broken in her heart.” “It hasn’t been the same since.” When James Randall dies unexpectedly shortly after, what should be a positive thing only leaves Terrance to take over both half of the plantation, not unsettled by his brother’s death but more reinforced in their objective as a result of his death.

  1. To make matters worse, the major adversary of the plot makes an appearance.
  2. Dillon), a Black adolescent who obediently obeys his commands.
  3. One fugitive in particular, Cora’s mother, evaded him, and he never found her.
  4. He has an uncomfortable obsession with her and the audacity to attempt to psychoanalyze her.
  5. “It’s best to figure out a strategy to get rid of that.
  6. even hadfocus groupsto discuss this).
  7. With Big Anthony, “Chapter 1: Georgia” presents us with its most painful and heartbreaking moment, and the directing appears to be telegraphing its own internal struggle about what to show us next.

But Big Anthony is treated with respect in this scene, retaliating against Terrance’s every word, exclaiming “NO MORE MASTERS, NO MORE SLAVES!” and shrieking “GODDAMN YOU!” as Terrance puts up a Bible as a shield of defense.

As he approaches the end of his life, the camera shifts into his point of view, reminding us that we are dealing with an actual person with a life, mind, and spirit.

Cora and Caesar are ultimately persuaded to leave after seeing this harrowing scenario.

“It’s about time,” Caesar adds, placing his hand on Cora’s shoulder.

A hatchet and the okra seeds from her garden plot (and her mother’s before her) are the last things Cora gathers before departing for the night later that night.

Lovey is carried away, and Cora and Caesar are forced to fend off the guys perched atop their shoulders.

After that lengthy and delightful running sequence, Fletcher informs them that they are being sought not just for escape but also for the possible murder of the youngster, who is “in a slumber from which he may never awaken,” according to Fletcher.

We have no idea where Cora’s adventure will take her as she heads north, but Fletcher offers some helpful advise for the voyage: “If you want to have a sense of what this country is all about, you have to take the train.” If you only glance outside while driving fast, you’ll see the actual face of America.” However, because the train is underground, if Cora looks outside, she would only see darkness, not the landscape of “America.” ‘B.O.B.

  • — Bombs Over Baghdad,’ a song by Outkast from their album Stankonia, is played during the end credits of the movie.
  • It took me a while to realize it, but the soundtrack frequently sounds to me like the drone of a train whistle being elegantly melodized, which I find rather striking (take a listen during the prologue).
  • Jenkins wrote the chapter titled “Chapter 1: Georgia” (one of only two episodes penned solely by him).
  • The composition of the writing room consisted of three Black authors and three white writers (two men and four women).
  • In the prologue, we are given information about the context of one of the images: The man who is seen going backwards is a reverse of the man who is seen rushing through the field ahead of Cora in the first scene.
  • Whitehead’s novel is a whimsical exploration of time; it is not set in a certain year.

It is said in the show’s production notes that Whitehead had the following motto when writing the series: “When I began writing, my motto was, ‘I won’t be bound by historical facts, but I will be bound by truth.'” “That is exactly what Barry has done here.” Caesar is capable of reading and does so for his own comfort.

“All people who go on the train must be documented on the manifest,” Fletcher explains further.

In that vein, I’ll be proposing a piece of current literature in each recap — in a bullet-point I’m dubbing “Reading Railroad” — that I believe fits the show’s themes and will include in each report.

The Underground Railroad is a term used to describe a system of transportation that allows people to flee their homes. Recap of the Premiere: It’s Time

The Underground Railroad by Colson Whitehead – Teacher’s Guide: 9780345804327

IMPORTANT NOTE FOR TEACHERS Instructions for Teachers The Underground Railroad is a term used to describe a system of transportation that allows people to flee their homes. Cora, a young African American lady who goes to freedom from the antebellum South via a magnificently conceived physical—rather than metaphorical—railroad, is introduced in The Underground Railroad by Colson Whitehead. The locations and people Cora experiences throughout the novel, which is told in episodes, furnish her and the reader with important discoveries about the consequences of captivity.

The reader is reminded of the importance of hope, of resistance, and of freedom via Cora, making The Underground Railroadan essential supplement to any classroom curriculum.

An understanding of the slave trade, slavery, and how it operated in the United States is necessary in order to make sense of the number of Africans who were enslaved and the historical legacy of enslavement that has lasted through Reconstruction, the civil rights movement, and up to the present day in the United States.

  • Most importantly, including The Underground Railroadallows readers to bear witness to a counter-narrative of slavery that is not generally covered in the literature on slavery.
  • Because of the Underground Railroad, we are reminded that her tale may be used as a springboard for bigger talks about racism, gender, and a slew of other critical issues.
  • When used at the collegiate level, the book is suited for writing and literary classes, race and gender studies, and first-year/common reading programs, among other things.
  • The prompts are organized according to the standard that they most directly support.
  • For a comprehensive listing of the Standards, please see the following link: warnings: There are multiple instances of violence throughout the text (sexual and physical).
  • Although teachers should not avoid exposing children to these events, guiding them through them via conversation and critical analysis will help them gain a better understanding of the consequences of enslavement as it has been experienced by so many people throughout history.
  • Activity in the Classroom Make a list of all the ways in which Cora fights against the dehumanization that comes with servitude.

Then hold a Socratic seminar to determine in what ways she is a “insurrection of one” (172) and why her resistance is such a threat to the system of white supremacy.Key Ideas and Specifics : CCSS.ELA-LITERACY.RL.11-12.3 Examine the consequences of the author’s decisions about how to develop and connect the many aspects of a tale or drama (e.g., where a story is set, how the action is ordered, how the characters are introduced and developed).

  1. Even while whites continue to orchestrate festivals among the slave population in South Carolina, free people are free to congregate and spend time with one another whenever they choose.
  2. And what do these get-togethers have to say about community, kinship, and happiness?
  3. What aspects of South Carolina’s enslavement are similar to those of slavery?
  4. What characteristics distinguish South Carolina from Randall?
  5. Her reading materials include a Bible and almanacs, which “Cora admired.
  6. What role does the act of reading, and hence literacy, play in Cora’s ability to be free?

Consider, as well, how Ethel and Ridgeway use the Bible and religion to justify slavery: “If God had not intended for Africans to be enslaved, they would not be in chains” (195); and Cora’s observation: “Slavery is a sin when whites are subjected to the yoke, but not when Africans are subjected to the yoke” (195).

  • This is how Ridgeway describes his position: “I’m an idea of order.” Likewise, the slave who vanishes is only a fictitious concept.
  • If we allow it to happen, we are acknowledging the fault in the imperative.
  • Is there a “defect in the imperative,” and why is it critical for Ridgeway and the larger institution of enslavement that is reliant on Black people that this flaw be addressed and eliminated?
  • Mingo and Lander are similar in many ways.
  • What are the similarities and differences between these two guys and Booker T.
  • E.
  • Du Bois?
See also:  Aproximately How Many Miles Would A Slave Travel In One Night Of The Underground Railroad? (Question)

Examine the relevance of how each person who worked on the railroad—from station agents to conductors—was influenced by their jobs and the railroad itself.

Which concepts such as resistance, agency, and responsibility do these individuals hold dear to their hearts?

The ability to read and to be literate provided one with a tremendous instrument for comprehending the world and for liberating others from oppression.

Consider the significance of the Valentine library, which boasts “the largest collection of negroliterature this side of Chicago,” among other things (273).

What role does Cora’s experience play in articulating the relationship between freedom and literacy?

Cora’s grandmother, Ajarry, is our first introduction to her.

What role does Ajarry play in setting a good example for Mabel, and in especially for Cora, is unclear.

A comparison has been made between the episodic structure of The Underground Railroad and that of Jonathan Swift’sGulliver’s Travels by Colson Whitehead.

A station agent tells Cora, “If you want to see what this country is all about, I always say you have to ride the rails,” as he tells her he wants her to ride the trains.

What role does Lumbly’s appraisal play in framing Cora’s next phase of her trip once she leaves Georgia?

Cora travels the majority of the way by herself.

Years ago, she had taken a wrong turn and was no longer able to find her way back to the folks she had left behind” (145).

Also, how do her travels influence her perspective on the ever-present threat of sexual assault against Black women, as well as the general lack of protection for enslaved women?

Examine the Friday Festivals and the night riders to see how they compare.

What are the ways in which these occurrences express worries of black rebellion?

Instead, he and his family were sold and split apart by the government.

Gulliver’s Travels is the title of the book.

The notion of literacy for freedom is sustained by Caesar’s hunger for knowledge in what way is unclear.

Who was the one who started it?

The question is, how could this be both a “community striving for something precious and unique” and a threat to others (such as the residents in the nearby town, slave hunters, and so on)?

Is there a clear message about risk and return in this?

Why is Sam the only one that returns to Cora out of all of the agents she has encountered?

Look at page 285 and see how Lander responds to Mingo.

What is the role of illusion throughout the narrative, and why is this particular moment so important for the acts that follow?

“You have a responsibility to pass on something beneficial to your children” (293).

What is their legacy in Cora, and how has it been realized?

Examine the relevance of turning the Underground Train into a real-world railroad system.

Create stations for students to study and debate each advertising based on a framing text (for example, “New Databases Offer Insight into the Lives of Escaped Slaves” from the New York Times).

What are some of the parallels and contrasts between the actual announcements and Cora’s version of them?

Knowledge and ideas are integrated in this process.

“That tale, like so many that we tell about our nation’s past, has a complicated relationship to the truth: not exactly false, but simplified; not quite a myth, but mythologized,” argues Kathryn Schultz in her essay “The Perilous Lure of the Underground Railroad” in the New Yorker.

For what reason is it necessary to emphasize African Americans’ participation in the abolitionist movement?

According to the Slave Memorial Act of 2003, “the District of Columbia shall be the site of a memorial to slavery to: (1) acknowledge the fundamental injustice, cruelty, brutality, and inhumanity of slavery throughout the United States and its thirteen American colonies; and (2) honor the nameless and forgotten men, women, and children who have gone unrecognized for their undeniable and weighty contribution to the development of the United States.

” There are no national monuments dedicated to the enslavement of Africans in the United States at this time.

What is the most appropriate method to commemorate and remember the enslavement of African people?

Draw on examples from the book to support your reasoning as you create an artistic depiction that places Cora inside that lineage, stretching the history all the way to the current day.

CCSS.ELA-LITERACY.WHST.11-12.7 Research projects that are both short and long in duration are carried out to answer a question (including a self-generated question) or solve a problem; when necessary, inquiries are narrowed or broadened; and multiple sources on the subject are synthesized to demonstrate understanding of the subject under investigation.

One of the episodes should be chosen as a starting point for doing critical analysis and presenting findings from research on one of the issues listed below, along with an explanation of how that topic relates to the novel’s themes.

forced sterilization, settler colonialism, lynching, African Americans and abolitionism, African American slave rebellions, sexual violence against African American women, reparations, literacy practices during and after enslavement, the role of white women in slavery, maroons and maronage, racial health disparities, and reparations.

  1. (Ta-Nehisi Coates, “The Case for Reparations,” The Atlantic, November 2005.
  2. Social Theory, Sociology, “Settler Colonialism: An Introduction from the Perspective of Global Social Theory.” (E.
  3. The New York Times is a newspaper published in New York City.
  4. NPR’s “Fresh Air” program.
  5. Kathryn, “The Perilous Lure of the Underground Railroad” is a book about the Underground Railroad.
  6. Works of Spectacular Interest Podcast with a historically black cast.
  7. Ashley Bryan is a writer of children’s books.

Ava DuVernay’s Thirteenth (film) Strange Fruit: Uncelebrated Narratives from Black History, by Henry Louis Gates, Jr.

Alex Haley (film), Joel C.

Zora Neale Hurston’s novel, Their Eyes Were Watching God, is a classic.

Promoting High Achievement Among African American Students, Young, Gifted, and Black (Young, Gifted, and Black), Theresa Perry is a woman who works in the fashion industry.

The Smithsonian American Art Museum is located in Washington, DC.

Gregory Christie is a writer and poet from the United Kingdom.

Heather’s book, Help Me to Find My People: The African American Search for Family Lost in Slavery, is a must-read for anybody interested in African American history.

Author of Self-Taught: African American Education in Slavery and Freedom, Heather A.

Monroe Work is the webpage for the Lynching Project.

Kimberly N.

Previously, she served as president of the New England Association of Teachers of English and as the National Council of Teachers of English’s Secondary Representative at-Large for the secondary division.

A Ph.D. in Curriculum and Instruction from the University of Illinois at Champaign, Dr. Parker is an expert in the field of education. WHAT THIS BOOK IS ABOUThtml /

The Underground Railroad episode 3 recap – “Chapter 3: North Carolina”

Summary “Chapter 3: North Carolina” only serves to place Cora in a worse situation than the one from which she had just left. It is possible that spoilers will be included in this summary of The Underground Railroad episode 3, “Chapter 3: North Carolina.” As he leaves Cora alone in a tunnel on the Underground Railroad, Ellis remarks, “You must be made of strong stuff.” “You’re a long way from Georgia,” Ellis says to Cora as he leaves her alone in one of the Underground Railroad’s tunnels. Indeed.

Cora hasn’t even gotten a chance to speak with the nearest station agent, Martin (Damon Herriman), before she’s informed that the station has closed and that he is no longer admitting passengers.

The fact that she wants to accompany Martin rather than stay by herself in the tunnels is reinforced by the fact that, while he will not be her master, she will still be required to follow him, which isn’t all that different from being her slave.

The Freedom Trail is a length of road lined by trees from which bodies of dead Black men and women hang.

“Chapter 3: North Carolina” is tense to the point of being unbearable, because there isn’t even the pretense of refuge in this state.

You just murdered us all.” She will be housed in a crawlspace above the attic, which will be accessible only through a fake ceiling that Martin’s father constructed.

Cora is relieved to find the chamber pot.

Cora grudgingly obliges, saying, “I decided a n*gger’s got to eat.” Nobody is allowed to hear Cora upstairs for fear that they will all be slain and their bodies will be used to adorn the Freedom Trail.

Is this the way to salvation?

The execution of a Black woman, Louisa (Elizabeth Youman), who was discovered in the hold of a steamer, serves as the sermon’s focal point.

What number of executions has she witnessed from that vantage point?

In The Underground Railroadepisode 3, Jamison joins supper at Martin’s house and is eager to hurt his “sensitive ears” — in Ethel’s words — with talk about North Carolina being how God meant America to be; pure is the term he uses, though I, and probably Martin, could think of numerous more.

A month slips into a month and a half, Cora becomes ill, and Martin is still unable to get the courage to face his problem with anything like a backbone.

Perhaps they should have destroyed the Bible itself, from which Ethel reads to a deteriorating Cora in order to justify their treatment of everyone deemed to be different from them.

“I can see.

“I’m thinking of you.” Is the fact that Ethel plainly believes this crap a factor in determining how terrible she is?

After Martin contracts the pox, Ethel gradually gains more and more influence over the family’s activities.

Martin creates a commotion by heaving and retching all over Ridgeway in order to allow Ethel enough time to hide Cora and Grace, whom she is instructing in the ways of the lord upstairs, while Martin is upstairs.

He runs into Cora for the second time.

It is demanded that Ethel and Martin be hanged, and that North Carolina be cleaned by the populace.

Ethel is abandoned to the mercy of the mob, and a lantern is hurled at the home, causing the entire structure to catch fire and burn.

Martin transports Ridgeway to the railroad station, where he has defiled the entrance with explosives.

Homer, still in his underwear and armed with a lamp, descends into the tunnels via a small breach in the rubble, only to discover more of the same and tracks that lead nowhere.

Martin is put to death. And when Cora inquires as to how Ridgeway discovered her, he says that he did not. He honestly feels that she has tracked him down.

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