Sight Unseen: Contemporary Visual Slave Narratives

2016 ◽  
Author(s):  
Janet Neary
Keyword(s):  
Slave Narratives ◽  
Frederick Douglass ◽  
Slave Narrative ◽  
New Model ◽  
Artistic Production ◽  
Contemporary Artists

Establishing and examining an archive of contemporary visual slave narratives—including Glenn Ligon’s Narratives and Runaways series (1993), Kara Walker’s Slavery! Slavery! (1997) and Narratives of a Negress (2003), and Ellen Driscoll’s The Loophole of Retreat (1991)—this chapter reframes critical debates on the slave narrative around the visual stakes of the form and advances a new model of reading the slave narrative founded on attention to the historical and aesthetic dislocations and disjunctions accentuated in contemporary visual slave narratives. Concluding with an analysis of Frederick Douglass’s visual intervention in his Narrative of the Life of Frederick Douglass, An American Slave, specifically, his metaphorical assertion, “You have seen how a man was made a slave, you shall see how a slave was made a man,” the chapter argues that both contemporary artists and 19th-century ex-slave narrators produce representational static to evade the racial constraints on their artistic production.

Captivity, Desire, Trade

2017 ◽  
Author(s):  
Lindon Barrett
Keyword(s):  
Eighteenth Century ◽  
United States Of America ◽  
Slave Narratives ◽  
The United States ◽  
Frederick Douglass ◽  
Classic Period ◽  
Slave Narrative ◽  
The World ◽  
Fugitive Slave ◽  
Set Up

This chapter continues the discussion of Equiano/Vassa's autobiography, focusing on its role in the literary tradition as the most important eighteenth-century slave narrative in order for Barrett to set up the long tradition of the fugitive slave narrative in its pre-classic (prior to 1800), classic (1830–1865), and postbellum (1865 and later) versions. It then turns to a number of fugitive slave narratives and related abolitionist texts from the classic period: William Grimes's Narrative of the Life of William Grimes, the Runaway Slave (1855); James Bradley's 1835 journalistic account of his own enslavement; David Walker's Appeal to the Colored Citizens of the World, but in Particular, and Very Expressly to Those of the United States of America (1829); Frederick Douglass's Narrative of the Life of Frederick Douglass, an American Slave, Written by Himself (1845) and My Bondage and My Freedom (1855).

Slavery and Class in the American South

2019 ◽  
Author(s):  
William L. Andrews
Keyword(s):  
Nineteenth Century ◽  
African American ◽  
African Americans ◽  
American South ◽  
Frederick Douglass ◽  
Harriet Jacobs ◽  
Slave Narrative ◽  
William Wells Brown ◽  
The American South ◽  
Work Family

In this study of an entire generation of slave narrators, more than sixty mid-nineteenth-century narratives reveal how work, family, skills, and connections made for social and economic differences among the enslaved of the South. Slavery and Class in the American South explains why social and economic distinctions developed and how they functioned among the enslaved. Andrews also reveals how class awareness shaped the views and values of some of the most celebrated African Americans of the nineteenth century. Slave narrators discerned class-based reasons for violence between “impudent,” “gentleman,” and “lady” slaves and their resentful “mean masters.” Status and class played key roles in the lives and liberation of the most celebrated fugitives from US slavery, such as Frederick Douglass, Harriet Jacobs, William Wells Brown, and William and Ellen Craft. By examining the lives of the most- and least-acclaimed heroes and heroines of the African American slave narrative, Andrews shows how the dividing edge of social class cut two ways, sometimes separating upper and lower strata of slaves to their enslavers’ advantage, but at other times fueling convictions among even the most privileged of the enslaved that they deserved nothing less than complete freedom.

Blackface Abolition and the New Slave Narrative

2014 ◽  
Vol 2 (1) ◽  
pp. 93-113 ◽  
Author(s):  
Laura T. Murphy
Keyword(s):  
Nineteenth Century ◽  
Slave Narratives ◽  
The Self ◽  
Forced Labor ◽  
Slave Narrative ◽  
First Person ◽  
White American ◽  
Political Turn

Since the 1990s, survivors of forced labor have been authoring first-person narratives that consciously and unconsciously reiterate the tropes and conventions of the nineteenth-century American slave narrative. These “new slave narratives” typically conform to the generic tendencies of the traditional slave narratives and serve similar activist purposes. Some of the most popular of the narratives have taken a particular political turn in the post-9/11 context, however, as neoliberal political agendas and anti-Muslim sentiments come to dominate the form and content of many of the African narratives that have been produced. This paper identifies a “blackface abolitionist” trend, in which the first-person testimonies of formerly enslaved Africans is co-opted by some politically motivated white American abolitionists to play a black masquerade, in which they adorn themselves with the suffering of enslaved Africans to thinly veil the self-exonerating and self-defensive crusade politics that motivate their engagement in anti-slavery work.

Post-Black Satire

2019 ◽  
pp. 105-140
Author(s):  
Yogita Goyal
Keyword(s):  
African American ◽  
American Literature ◽  
African American Literature ◽  
Slave Narratives ◽  
Slave Narrative ◽  
Underground Railroad ◽  
Time And Space ◽  
History Of ◽  
Paul Beatty ◽  
Distinct Body

This chapter collides the idiom of post-blackness with the dominant genre of the neo-slave narrative in contemporary African American literature. This distinct body of work—post-black neo-slave narratives—mines the historical scene of slavery in the mode of satire. Through absurd juxtapositions, surreal analogies, and farcical adventures, post-black satirists expose the contradictions of the insistence on the unending history of slavery amid declarations of a break from previous racial regimes. Viewing satire as the lens through which debates about race and postracialism articulate, the chapter explores how fictions by Paul Beatty and Mat Johnson combat the sentimental template of abolition and neo-abolition by refusing to collapse past and present. The chapter concludes with a look at what might be termed a post-black post-satire, as Colson Whitehead’s The Underground Railroad (2016) stretches time and space to transform the slave narrative into a flexible portal to practices of exploitation worldwide.

Epilogue

2019 ◽  
pp. 317-322
Author(s):  
William L. Andrews
Keyword(s):  
Nineteenth Century ◽  
African American ◽  
American Literature ◽  
Slave Narratives ◽  
Late Nineteenth Century ◽  
Slave Narrative ◽  
Self Awareness ◽  
Nineteenth Century American Literature ◽  
Full Diversity ◽  
Large Numbers

The epilogue notes that kinship, privilege, occupation, intragroup status, and social mobility affected crucial transitions in self-awareness as well as class awareness among the narrators. Growing self-respect kindled in many narrators a desire for a future that coalesced around an imagined free self. Narrating this process of inner growth individualized and liberated African American personhood in mid-century literature. Slave narratives from this generation created the most sophisticated commentary on caste and class in the South to be found in nineteenth-century American literature. In the late nineteenth century, former slaves continued to publish autobiographies in large numbers. Their experiences in slavery and perspectives on it were often very different from those of the antebellum narrators. Without taking into account the slave narratives published between 1865 and 1901, our comprehension of slavery and the full diversity of African American self-portraiture in the slave narrative will remain limited and partial.

Emerging Class Awareness

2019 ◽  
pp. 26-62
Author(s):  
William L. Andrews
Keyword(s):  
African American ◽  
Black Americans ◽  
Frederick Douglass ◽  
Black Writers ◽  
Class Consciousness ◽  
Slave Narrative ◽  
Caste Status ◽  
David Walker ◽  
Key Terms

Chapter 1 examines key terms pertaining to socioeconomic distinction, particularly “caste,” “status,” and “class,” as they apply to mid-century narratives. The chapter notes factors that differentiated the enslaved economically as well as socially, among them types of work, kinship, and connections to whites. It explains the importance of class awareness to the slave narrative and differentiates that awareness from standard ideas about class consciousness. Also discussed are commonalities of experience shared by most of the fifty-two African American slave narrators whose life stories are the focus of this book. Concluding the chapter is an overview of discourse involving class critique and social advancement among African Americans as articulated by black writers from David Walker to Martin R. Delany and Frederick Douglass. The widening range of class-inflected ideas expressed in mid-century narratives attests to an emerging class awareness in contemporary essays and journalism, as well as autobiography, by black Americans.

scholarly journals Bound to History: Leoncia Lasalle’s Slave Narrative from Moca, Puerto Rico, 1945

Genealogy ◽  
2020 ◽  
Vol 4 (3) ◽  
pp. 93
Author(s):  
Ellen Fernandez-Sacco
Keyword(s):  
Puerto Rico ◽  
Oral History ◽  
Sense Of Self ◽  
Slave Narratives ◽  
Slave Narrative ◽  
Historical Knowledge ◽  
Enslaved Women ◽  
Family Histories ◽  
Personal Accounts ◽  
Colonial Government

The only slave narrative from Puerto Rico is included in Luis Diaz Soler’s Historia de la esclavitud negra en Puerto Rico (1953; 2002). This article considers this embedded account as part of the literature of slave narratives to address a gap in the literature; this is perhaps due to the account’s singularity and brevity. Beyond this, the other source for understanding the experience of enslaved women in Puerto Rico is through legal and parish documents, generated by a colonial government and church supportive of slavery. As a result, lives under enslavement are quantified statistically, and the lack of oral history or personal accounts hampers understanding of the effects of enslavement from an individual perspective. Documenting such a life comes with its own set of issues, as shown here by demonstrating the limits of various archival resources. There is no one methodology to follow to reconstruct lives and family histories under slavery, an institution designed to prevent the formation of a historical sense of self and agency. Factoring in familial connections makes my own location as a researcher visible, as knowledge is not neutral. Despite its brevity, considering Leoncia Lasalle’s account, and that of her daughter, Juana Rodriguez Lasalle, in terms of its multiple contexts—microhistory, similarities with U.S. and Cuban slave narratives, family histories, and the archive—reveals the constructed nature of the idea of historical knowledge, which also has implications for genealogical practice involved with slavery and life post-emancipation.

Watching from Below: Racialized Surveillance and Vulnerable Sousveillance

PMLA ◽  
2020 ◽  
Vol 135 (2) ◽  
pp. 299-314
Author(s):  
Kelly Ross
Keyword(s):  
Smart Phone ◽  
Slave Narratives ◽  
Frederick Douglass ◽  
Harriet Jacobs ◽  
First Century ◽  
Police Brutality ◽  
Historical Period ◽  
Simultaneous Operation ◽  
Explanatory Theory ◽  
Surveillance Studies

By relying on Foucauldian panopticism as a universally explanatory theory, surveillance studies has collapsed two separate issues: the power relations between watcher and watched and the visibility or nonvisibility of the watcher. The presumption that the watcher's visibility or nonvisibility is irrelevant is especially dangerous for observers of color, who are already more vulnerable because of racial hypervisibility. This essay examines the simultaneous operation of surveillance (watching from above) and sousveillance (watching from below), both predicated on racial hypervisibility. To demonstrate the continuity of racial hypervisibility across a broad historical period, I compare the risks taken by sousveillants of color making smart‐phone recordings of police brutality in the twenty‐first century with the dangers faced by visible African American sousveillants in nineteenth‐century slave narratives by Charles Ball, Frederick Douglass, and Harriet Jacobs. (KR)

Race and the (Para)Textual Condition

PMLA ◽  
2006 ◽  
Vol 121 (1) ◽  
pp. 156-169 ◽  
Author(s):  
Beth A. McCoy
Keyword(s):  
African American ◽  
White Supremacy ◽  
Slave Narratives ◽  
Frederick Douglass ◽  
Freedom Struggle ◽  
Fugitive Slave ◽  
Lynching Photography ◽  
Gerard Genette

When seen through the lens of the African American freedom struggle, the seemingly minor spaces and places federated by Gérard Genette under the term paratext take on a major role. Entangled throughout the margins and fringes of books and other kinds of texts (especially visual ones), the paratext (e.g., citations, prefaces, typeface) has served as a field through which white supremacy has been transacted indirectly: white-written prefaces to fugitive slave narratives are vivid examples. At the same time, the paratext has also served as a vector through which white power has been resisted. Examining the paratextual issues surrounding Frederick Douglass's Narrative of the Life of Frederick Douglass, an American Slave and Without Sanctuary, James Allen's exhibition of lynching photography, this essay explores what is gained and lost when the paratext is used as a means of resisting racialized domination. (BAMcC)

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