If you watched the Academy Awards last night, you may be luxuriating in the afterglow of 12 Years a Slave’s Best Writing, Best Supporting Actress, and Best Motion Picture wins. Therefore, I thought it was a good time to revisit Da Hype 1‘s post on slave narratives. To her credit, she realized the importance of 12 Years a Slave some time ago.
Why We Write/Talk about Slavery
I have been teaching African American literature for more than a decade now. During this time, I have taught a number of narratives that address the subject matter of slavery. In fact, during Fall semesters, I teach a course called The Slave Experience. When teaching these courses, my students and I often discuss, “Why it is important to continue to write/talk about slavery?” This question has arisen in the mainstream media and in social media lately, with the movie release of Solomon Northrup’s narrative, 12 Years a Slave.
I teach about the subject matter of America’s institution of slavery for a number of reasons, but the one that seems to be the most pronounced for me and for my students is the fact that we (others who study slavery and other human atrocities) want to be connected to, give voice to, and honor the humanity of those who have been robbed of the status of “human.” My classes are filled with students who elect to take a course on slavery that is not required because they genuinely believe that by better understanding the experience of American slavery, they will be better citizens and better humans. For me, this is what education in the humanities is all about.
Writing/Righting the Accounts of Slavery
Below, you will find a list of some accounts of slavery. I decided to list both fictional and non-fictional accounts because there is so much to learn from them both.
Traditional/Conventional Slave Narratives
This list consists of narratives written by or dictated by slaves themselves, once they escaped bondage. Those who were incapable of writing themselves, often received help from others to chronicle their experiences. These narratives were primarily written as a way of validating (or give witness to) the horrors of slavery, in hopes that the escaped slave’s story could support the abolitionists in emancipating all of those still enslaved.
The conventions of the writing reveals that those who escaped were gracious enough to not only tell their personal stories, but they also wanted to give voice to all who were still silenced and victimized by slavery. They had to tell the stories of how they escaped carefully, without revealing too many details of those who aided them to “freedom”. Assisting a slave in escaping slavery was a federal crime and it could result in prison time or worse for all of those caught participating.
This is only a short list of slave narratives:
- Olaudah Equiano or Gustavus Vassa, The Interesting Narrative of the Life of Olaudah Equiano (1789)
- Mary Prince, The History of Mary Prince (1831)
- Frederick Douglass, A Narrative of the Life of Frederick Douglass (1845)
- Henry Bibb, Narrative of the Life and Adventures of Henry Bibb, an American Slave, Written by Himself (1849)
- Henry Box Brown, Narrative of Henry Box Brown, Who Escaped from Slavery Enclosed in a Box 3 Feet Long and 2 Wide (1849)
- Josiah Henson, The Life of Josiah Henson, Formerly a Slave, Now an Inhabitant of Canada, as Narrated by Himself (1849)
- Solomon Northrup,12 Years a Slave (1853)
- Harriet Wilson, Our Nig (1859)
- William Craft, Running a Thousand Miles for Freedom; or, The Escape of William and Ellen Craft from Slavery (1860)
- Harriet Jacobs, Incidents in the Life of a Slave Girl (1861)
Not to be confused with conventional or traditional slave narratives, the genre of literature often called the “neo-slave” narrative, consists of works of fiction that address the institution of slavery. Generally speaking, there are two types of neo-slave narratives: a.) works that have the institution of slavery as its setting, and b.) works that revisit slavery within a contemporary context.
Oftentimes, the narratives were based on actual documented accounts of slavery, as in the case of Beloved, which is loosely based on the experiences of Margaret Garner. These contemporary writers took the opportunity to address, without the rules and conventions of the 19th century, the realities of slavery that perhaps the traditional slave narratives could not. For example, 19th century works of fiction could not explicitly address the sexual violence black women experienced in slavery because the writers did not want to jeopardize the Abolitionist Movement by offending supporters of the movement with their stories of being raped by white slave masters. After all, no one wanted to address the rape culture that existed in American Slavery.
Below, you will find a list of some neo-slave narratives. This list is, by no way, exhaustive:
- William Wells Brown, Clotel (1853)
- Margaret Walker, Jubilee (1960)
- Gayl Jones, Corregidora (1975)
- Alex Haley, Roots (1976)
- Ishmael Reed, Flight to Canada (1976)
- Octavia Butler, Kindred (1979)
- Sherley Anne Williams, Dessa Rose (1986)
- Toni Morrison, Beloved (1987)
- J. California Cooper, Family (1991)
- Toni Morrison, A Mercy (2008)
Please share with us your experiences reading these narratives.