Manchester, New Hampshire Then and Now

The United States has long described itself as a nation of immigrants, a country shaped by people who arrived from elsewhere in search of opportunity, safety, or freedom. This narrative is deeply ingrained in American identity. Yet running alongside it is a parallel history—one in which the American government has repeatedly used law, policy, and enforcement to discriminate against immigrants based on race, religion, nationality, class, and political belief. This discrimination has not been accidental or isolated. It has been codified into law, upheld by courts, and enforced by federal, state, and local authorities, often during moments of fear, war, or economic uncertainty.

Black protest in the United States is not a modern phenomenon—it is a continuous thread woven through American history. From enslaved people resisting bondage to mass demonstrations against police violence, protests for Black rights have often been met with resistance, violence, and delay. Yet over time, many of these movements reshaped laws, public opinion, and the nation itself.

Edmonia Lewis (c. 1844–1907) was a pioneering American sculptor whose life and work defied the rigid boundaries of race, gender, and class in the 19th century. Born into a world that offered few opportunities—especially for a woman of African American and Native American descent—Lewis forged an international career and left behind a body of work that speaks powerfully about freedom, identity, and resilience.