Freedom Over Me: Eleven Slaves, Their Lives and Dreams Brought to Life by Ashley Bryan

"Bryan makes real and palpable what chattel slavery meant and how it affected those who were enslaved; every child who studies American slavery would benefit from experiencing this historically grounded web of narratives. (author's note) (Picture book/poetry. 6-10)"

Using a document from 1828 that lists the value of a U.S. landowner's 11 slaves, Bryan (Sail Away) creates distinct personalities and voices for each, painting their portraits and imagining their dreams. He starts with the wife of the slave owner, who felt her husband was good to their slaves ("He never hired an overseer"). But it's quickly clear that "good" slave ownership is an oxymoron: "I work hard--all profit to the estate," their cook Peggy observes. Bryan shows that the enslaved had secret lives of their own: "Years ago blacksmith Bacus and I/ 'jumped the broom'--/ the slave custom for marriage. No legal form for slaves." They cherish their traditions, call each other by their African names ("I am Bisa, 'Greatly Loved' "), dream of escape, and long for freedom. His portraits show the men, women, and children gazing out at readers, the contours of their faces traced as if carved from wood, while strong rhythmic outlines mimic stained glass, echoing the sense of sacred memory. There are few first-person accounts of slaves, and these imagined words will strike a chord with even the youngest readers. Ages 6-10. (Sept.)

Copyright 2016 Publishers Weekly, LLC Used with permission.

Gr 4-6--Documents related to an 1828 estate sale that included, along with hogs and cows, the names and prices of 11 individuals, were the genesis of this tribute to the lives, talents, and community of generations of those who were treated as property and whose humanity was disregarded. Bryan's expressive portrait art allows readers to peer into the faces of these men and women, while his poems unmask their hopes and aspirations.

Copyright 2016 School Library Journal, LLC Used with permission.

Using a document from 1828 that lists the value of a U.S. landowner's 11 slaves, Bryan (Sail Away) creates distinct personalities and voices for each, painting their portraits and imagining their dreams. He starts with the wife of the slave owner, who felt her husband was good to their slaves ("He never hired an overseer"). But it's quickly clear that "good" slave ownership is an oxymoron: "I work hard—all profit to the estate," their cook Peggy observes. Bryan shows that the enslaved had secret lives of their own: "Years ago blacksmith Bacus and I/ 'jumped the broom'—/ the slave custom for marriage. No legal form for slaves." They cherish their traditions, call each other by their African names ("I am Bisa, 'Greatly Loved' "), dream of escape, and long for freedom. His portraits show the men, women, and children gazing out at readers, the contours of their faces traced as if carved from wood, while strong rhythmic outlines mimic stained glass, echoing the sense of sacred memory. There are few first-person accounts of slaves, and these imagined words will strike a chord with even the youngest readers. Ages 6-10.Using a document from 1828 that lists the value of a U.S. landowner's 11 slaves, Bryan (Sail Away) creates distinct personalities and voices for each, painting their portraits and imagining their dreams. He starts with the wife of the slave owner, who felt her husband was good to their slaves ("He never hired an overseer"). But it's quickly clear that "good" slave ownership is an oxymoron: "I work hard—all profit to the estate," their cook Peggy observes. Bryan shows that the enslaved had secret lives of their own: "Years ago blacksmith Bacus and I/ 'jumped the broom'—/ the slave custom for marriage. No legal form for slaves." They cherish their traditions, call each other by their African names ("I am Bisa, 'Greatly Loved' "), dream of escape, and long for freedom. His portraits show the men, women, and children gazing out at readers, the contours of their faces traced as if carved from wood, while strong rhythmic outlines mimic stained glass, echoing the sense of sacred memory. There are few first-person accounts of slaves, and these imagined words will strike a chord with even the youngest readers.—Publishers Weekly *STARRED* "July 4, 2016 "