Instant #1 New York Times bestseller. "The Atlantic writer drafts a history of slavery in this country unlike anything you’ve read before” (Entertainment Weekly).
Beginning in his hometown of New Orleans, Clint Smith leads the reader on an unforgettable tour of monuments and landmarks—those that are honest about the past and those that are not—that offer an intergenerational story of how slavery has been central in shaping our nation’s collective history, and ourselves.
It is the story of the Monticello Plantation in Virginia, the estate where Thomas Jefferson wrote letters espousing the urgent need for liberty while enslaving more than four hundred people. It is the story of the Whitney Plantation, one of the only former plantations devoted to preserving the experience of the enslaved people whose lives and work sustained it. It is the story of Angola, a former plantation–turned–maximum-security prison in Louisiana that is filled with Black men who work across the 18,000-acre land for virtually no pay. And it is the story of Blandford Cemetery, the final resting place of tens of thousands of Confederate soldiers.
A deeply researched and transporting exploration of the legacy of slavery and its imprint on centuries of American history, How the Word Is Passed illustrates how some of our country’s most essential stories are hidden in plain view—whether in places we might drive by on our way to work, holidays such as Juneteenth, or entire neighborhoods like downtown Manhattan, where the brutal history of the trade in enslaved men, women, and children has been deeply imprinted.
Informed by scholarship and brought to life by the story of people living today, Smith’s debut work of nonfiction is a landmark of reflection and insight that offers a new understanding of the hopeful role that memory and history can play in making sense of our country and how it has come to be.
About the Author
Clint Smith is a staff writer at The Atlantic and the author of the poetry collection Counting Descent. The book won the 2017 Literary Award for Best Poetry Book from the Black Caucus of the American Library Association and was a finalist for an NAACP Image Award. He has received fellowships from New America, the Emerson Collective, the Art For Justice Fund, Cave Canem, and the National Science Foundation. His writing has been published in The New Yorker, The New York Times Magazine, Poetry Magazine, The Paris Review and elsewhere. Born and raised in New Orleans, he received his B.A. in English from Davidson College and his Ph.D. in Education from Harvard University.
One of John Green’s Two Favorite Books of the Year Washington Post Best Book to Read in June Time Best Book of Summer 2021 The Root’s Book You Have to Read This Summer A Goodreads Hottest New Book of the Season One of Buzzfeed’s New Books to Add to Your Summer Reading List ASAP
“Raises questions that we must all address, without recourse to wishful thinking or the collective ignorance and willful denial that fuels white supremacy.” —Martha Anne Toll, The Washington Post
“Sketches an impressive and deeply affecting human cartography of America’s historical conscience…an extraordinary contribution to the way we understand ourselves.” —Julian Lucas, New York Times Book Review
"Part of what makes this book so brilliant is its bothandedness. It is both a searching historical work and a journalistic account of how these historic sites operate today. Its both carefully researched and lyrical. I mean Smith is a poet and the sentences in this book just are piercingly alive. And it’s both extremely personal—it is the author’s story—and extraordinarily sweeping. It amplifies lots of other voices. Past and present. Reading it I kept thinking about that great Alice Walker line ‘All History is Current’.”—John Green, New York Times bestselling author of The Anthropocene Reviewed
“The summer’s most visionary work of nonfiction is this radical reckoning with slavery, as represented in the nation’s monuments, plantations, and landmarks.”—Adrienne Westenfeld, Esquire
“The detail and depth of the storytelling is vivid and visceral, making history present and real. Equally commendable is the care and compassion shown to those Smith interviews — whether tour guides or fellow visitors in these many spaces. Due to his care as an interviewer, the responses Smith elicits are resonant and powerful. . . . Smith deftly connects the past, hiding in plain sight, with today's lingering effects.”—Hope Wabuke, NPR
“This isn’t just a work of history, it’s an intimate, active exploration of how we’re still constructing and distorting our history.” —Ron Charles, The Washington Post
“The power of an itinerant narrator—Smith journeys to Monticello, Angola Prison, Blandford Cemetery, and downtown Manhattan—is that it reveals slavery’s expansive, geographical legacy. Smith tells his stories with the soul of a poet and the heart of an educator.” —The Millions
“Both an honoring and an exposé of slavery’s legacy in America and how this nation is built upon the experiences, blood, sweat and tears of the formerly enslaved.”—The Root
“What [Smith] does, quite successfully, is show that we whitewash our history at our own risk. That history is literally still here, taking up acres of space, memorializing the past, and teaching us how we got to be where we are, and the way we are. Bury it now and it will only come calling later." —USA Today