Rhodesian miners strike while Britain is fighting for its life

African mine workers began striking in numbers once they stopped being migrants and started being residents. The 1927 walkout at the Shamva mine in Southern Rhodesia was run by Nyasa men who had lived on the property for years and had worked out how it functioned. On the Northern Rhodesian copper belt the pits sat close together, so news and plans moved between them, and the big stoppages came in 1935 and 1940. The second of those landed while the Royal Air Force was fighting over southern England. The miners knew nothing about that battle and everything about the fact that Britain could not do without copper, and the terms they extracted proved the point. No trade unions existed to call any of it. The organising ran instead through the Watchtower church and through Mbeni dance societies, formed for amusement, which split members into rival teams with uniforms and mock official titles borrowed from the men in the offices. Women danced and organised alongside men. Mbeni members served as go-betweens during the copper belt strikes.

Borno and Russell never mastered the Haitian press. Papers edited in the French polemical tradition attacked the occupation with a freedom the courts protected by refusing to convict editors. One journal spent part of 1925 running a daily notice counting down the days until the sanitary service would move Borno's remains to the city dump. Another advised readers to poison him. A preventive detention law of 1922 put Jolibois fils in and out of prison so often that the American diplomat Dana Munro thought he preferred it there, and Ernest Chauvet of Le Nouvelliste was locked up periodically and by one account enjoyed himself, devouring whole roast turkeys and drinking champagne. The courts went unreformed. Murder cases ended in acquittal on the plea that the victim had been a lougawou, since the penal code itself named sorcery a crime and treated zombification as real. The Garde was then turned on Vodou, arresting Haitians for preparing manje pou lesen. No senior American ever grasped that they were prosecuting the national religion.

The composer Clarence Cameron White and the librettist John Frederick Matheus travelled to Haiti for six weeks in search of musical materials for an opera. White completed the score in 1932 after a fellowship took him to Paris to study, and although it was performed in concert form in Chicago that year it was not staged until 1949. Jackson gathers the same year's other Haitian works to show how concentrated the moment was. Vandercook's life of Christophe appeared with drawings of the revolt that later fed Jacob Lawrence's paintings, and it moved Countee Cullen so deeply that he wrote the poem Black Majesty, published that May in the magazine of the National Urban League. The Haitian past had become working material for the Harlem Renaissance. Jackson treats the trip as the start of a sustained American musical engagement with Haiti.

Seabrook's travel narrative The Magic Island, built around the marine sergeant Faustin Wirkus and Seabrook's own fanciful account of Haitian religion, was chosen by the Literary Guild as its featured book for January 1929 and became a national bestseller. Renda uses its reception to show how empire was absorbed at home. Seabrook printed Wirkus's address, and schoolboys in Pennsylvania wrote to the man they understood to be a king, identifying with him as a Pennsylvanian, a working class boy and a Boy Scout, and asking about wild animals and chief exports. The Guild editor Carl Van Doren praised the book as a work in the literature of American empire and told readers they were citizens of an empire reaching far beyond their own continent. Renda notes that in 1929 empire was no longer debated in the United States, it was a point of pride.