Slave Narratives Quotes

I was an English major in college who concentrated in African-American literature and culture. So I read quite a few slave narratives and stories of escape, and I grew up in Ohio, which was a common stop on the Underground Railroad.

I'd gone to Oxford to do graduate studies in the history of the slave trade, but I came across Georgiana's letters, gave up that thesis, and wrote one on her instead. When I learned that Georgiana's great-nephews supported opposite sides in the American Civil War, I knew this would be the perfect sequel.

I studied African American studies, and I read these slave narratives and the escape narratives of people that were able to escape slavery and always found those stories intriguing and powerful and inspiring.

Throughout African-American literature, the writer has, in a sense, been burdened by the necessity of pleading the case for the whole race. For example, writers of slave narratives tend to lose their individual voices, as they were expected to stand in for all other voices, which were absent.

Pleas for white acceptance of black humanity have a long and terrible history in America, stretching back to the first slave narratives.

Fugitive slaves were rare then, and as a fugitive slave lecturer, I had the advantage of being the first one out.

In the 1930s, the government paid writers to interview 80- and 90-year-old former slaves, and I read those accounts. I came away realizing - not surprisingly - that many slave masters were sadists who spent a lot of time thinking up creative ways of hurting people.

They did laugh; they did fall in love. And while they were under incredibly oppressive conditions, they constantly were trying to steal pleasures. When you go back to the slave narratives, and you read books like the 'Bullwhip Days' or 'Incidents in the Life of the Slave Girl,' they will share what life was like, and it's a 365-degree view.

Everybody has told the story of black people in struggle except black people. The black people in the struggle haven't had the means to tell the story historically. There were a million slaves, but you see very few slave narratives. And that is intentional.

The slave narratives, there is a wealth of research there, because you are hearing stories from the first person account, and that's a whole different thing than reading about it in the history books. You're able to really personalize it.

Frankly, Django is an American story that needs to be told, when you think of slavery existing in this country for 245 years. In slave narratives there were all types of tales and drama and heroism and pain and love that happened during that time. That's rich material for drama! Everyone complains that there are no new stories left to tell. Not true, there are a whole bunch of them, and they're all American with a capital A.

I can literally count on one hand how many slave stories have gotten notoriety over the past few years.

That slave narratives existed at all implied a satisfactory conclusion to the journey - the attainment of literacy, the escape to the place where one could reflect on the experience of bondage and the flight to freedom, and, in the early days of the slave trade, the conversion to Christianity.

But really, for me, I tried to find first-person accounts. I tried to read stories from men and women who had survived slavery because it's different when you hear it from their mouths instead of reading it from a history book.

I read slave narratives, books like Bullwhip Days, Incidents in the Life of a Slave Girl. [The Root's chairman] Henry Louis Gates has an amazing documentary called Many Rivers to Cross - really, his whole writings; he's such a wealth of knowledge.

Fortunately, I come from an activist mother, so I didn't have to rely on the history books. The history books teach us nothing about the Underground Railroad aside from Harriet Tubman. So I knew more about it but, obviously, I had to dig deeper and expand my knowledge and do a lot of research once I took this project on. I had, like, a good two months to research before we started shooting, which isn't a lot, and I continued it throughout the five months of us shooting.

Slave narratives had their greatest influence on public opinion and on literature in the U.S. between 1830 and 1860. After Reconstruction's defeat, their urgency of tone was replaced by the softer one of reminiscence.