In this 5th part of my series "The Story of Shad Boats," I am looking at one of the most groundbreaking parts of Earl Willis’s and Mike Alford's research on shad boats—Earl's compilation of a detailed registry of shad boats and shad boat builders-- and exploring what it says about where shad boats were built and used.
This is a single story from the life of a woman named Chloe that was held in slavery at Indian Ridge in Currituck County, N.C., in the first half of the 1800s. It is only one brief moment in her life, but it is the only one that history has recorded. The passage, though brief, says a great deal about her and about the lives of other enslaved women on the North Carolina coast.
Linda Garey, a teacher I met some years ago, recently sent me copies of some remarkable historical images of North Carolina lighthouses and lightships that were taken in and around 1899. They are from her great-grandfather Rear Admiral Albert Ross’s extraordinary collection of magic lantern glass slides that he made while serving in the U.S. Navy.
This is the last of the 7-part series I’m doing this week based on an extraordinary collection of glass lantern slides that a teacher named Linda Garey shared with me. Her great-grandfather, Rear Admiral Albert Ross, took the images on a trip down the Albemarle and Chesapeake Canal in 1901.
In Rear Admiral Albert Ross’s next magic lantern glass slide, we find his vessel, the lighthouse tender Violet, approaching a rear paddlewheel steamer on one of the rivers that make up the Albemarle & Chesapeake (A&C) Canal-- either the Elizabeth River, North Landing River or the North River. We might just barely be able make out the captain and mate in the boat's pilothouse.
In Rear Admiral Ross’s next glass lantern slide, we see a steam tug towing a raft of logs by the village of Coinjock, N.C. This was a very common scene on the Albemarle and Chesapeake (A&C) Canal at the turn of the 20th century. Held together by spikes and chains, the logs in this raft are headed south toward the North River, a tributary of the Albemarle Sound.
In our next glass lantern slide, we can see Commander Albert Ross’s lighthouse tender Violet at the Albemarle and Chesapeake (A&C) Canal’s lock in Great Bridge, Virginia. This was the only lock on the canal and served to compensate for the different water levels in the canal and the Elizabeth River caused by the canal's wind tides and the river's lunar tides.
This is part 3 of a series I’m doing this week based on an extraordinary collection of glass lantern slides that a teacher named Linda Garey shared with me. Her great-grandfather, Rear Admiral Albert Ross, took the images on a trip down the Albemarle and Chesapeake Canal in 1901.
In our first lantern slide, we see the steam tug Dauntless pulling a lumber barge through the Albemarle & Chesapeake (A&C) Canal’s “Virginia Cut.” Commander Ross—he was not yet a Rear Admiral in 1901— took the image from the bow of the lighthouse tender Violet as it steamed east toward the North Landing River.
Several years ago I gave a lecture at an NEH-funded teachers workshop in New Bedford, Mass. The teachers came from all over the U.S. and one of them, Linda Garey, who teaches in California, later shared with me a group of remarkable Magic Glass lantern slides of a part of the North Carolina coast that is little known to most people: the Albemarle and Chesapeake Canal.
I never grow tired of looking at them: the faces in these old photographs. They are immigrants that settled in eastern North Carolina in the late 1800s and early 1900s. They came from Russia, Syria, Lebanon, Norway, Greece, Poland and many other far-off lands.
This is part 7 of my special series called “The Color of Water.” In this series, I’m exploring the history of Jim Crow and North Carolina’s coastal waters, including the state’s forgotten history of all-white beaches, “Sundown towns,” and racially exclusive resort communities. Today-- African American and Indian beaches.
This is the third post in my special series “The Color of Water.” In this series, I am exploring the history of Jim Crow and North Carolina’s coastal waters, including the state’s forgotten history of all-white beaches, “Sundown towns” and racially exclusive resort communities. You can find the other stories in the series here.
Young Barbara Doll’s portrait of Ms. Ada Waterfield and Knotts Island a century ago comes from a remarkable collection of local history and folklore that was created here at Currituck County High School in the 1970s and ‘80s. In 1976 an obviously talented English teacher named Susie G. Spruill and the 30 students in her American Literature class launched a journal called the Currituck Sounder.