Authentic recollections of hardship, frustration, and hope — from Mary Prince's groundbreaking account of a lone woman's tribulations and courage, to Annie Burton's eulogy of black motherhood.

The slave narrative has become a crucial genre within African American literary studies and an invaluable record of the experience and history of slavery in the United States. This Companion examines the slave narrative's relation to British and American abolitionism, Anglo-American literary traditions such as autobiography and sentimental literature, and the larger African American literary tradition. Special attention is paid to leading exponents of the genre such as Olaudah Equiano, Frederick Douglass and Harriet Jacobs, as well as many other, less well known examples. Further essays explore the rediscovery of the slave narrative and its subsequent critical reception, as well as the uses to which the genre is put by modern authors such as Toni Morrison. With its chronology and guide to further reading, the Companion provides both an easy entry point for students new to the subject and comprehensive coverage and original insights for scholars in the field.

Six narrations by slave women about their lives during and after their years in bondage, honoring the nobility and strength of African-American women of that era.

The ten works collected in this volume demonstrate how a diverse group of writers challenged the conscience of a nation and laid the foundations of the African American literary tradition by expressing their in anger, pain, sorrow, and courage. Included in the volume: Narrative of the Most Remarkable Particulars in the Life of James Albert Ukawsaw Gronniosaw; Interesting Narrative of the Life of Olaudah Equiano; The Confessions of Nat Turner; Narrative of the Life of Frederick Douglass; Narrative of William W. Brown; Narrative of the Life and Adventures of Henry Bibb; Narrative of Sojouner Truth; Ellen and William Craft's Running a Thousand Miles for Freedom; Harriet Jacobs' Incidents in the Life of a Slave Girl and Narrative of the Life of J. D.Green. LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.

Prince — a slave in the British colonies — vividly recalls her life in the West Indies, her rebellion against physical and psychological degradation, and her eventual escape in 1828 in England.

In Subjects of Slavery, Agents of Change Kari J. Winter compares the ways in which two marginalized genres of women's writing - female Gothic novels and slave narratives - represent the oppression of women and their resistance to oppression. Analyzing the historical contexts in which Gothic novels and slave narratives were written, Winter shows that both types of writing expose the sexual politics at the heart of patriarchal culture and both represent the terrifying aspects of life for women. Female Gothic novelists such as Emily and Charlotte Bronte, Ann Radcliffe, and Mary Shelley uncover the terror of the familiar - the routine brutality and injustice of the patriarchal family and of conventional religion, as well as the intersecting oppressions of gender and class. They represent the world as, in Mary Wollstonecraft's words, "a vast prison" in which women are "born slaves." Writing during the same period, Harriet Jacobs, Nancy Prince, and other former slaves in the United States expose the "all-pervading corruption" of southern slavery. Their narratives combine strident attacks on the patriarchal order with criticism of white women's own racism and classism. These texts challenge white women to repudiate their complicity in a racist culture and to join their black sisters in a war against the "peculiar institution." Winter explores as well the ways that Gothic heroines and slave women resisted subjugation. Moments of escape from the horrors of patriarchal domination provide the protagonists with essential periods of respite from pain. Because this escape is never more than temporary, however, both types of narrative conclude tensely. The novelists refuse to affirm either hope or despair, thereby calling into question conventional endings of marriage or death. And although slave narratives were typically framed by white-authored texts, containment of the black voice did not diminish the inherent revolutionary conclusion of antislavery writing. According to Winter, both Gothic novels and slave narratives suggest that although women are victims and mediators of the dominant order they also can become agents of historical change.

The moving testimonies of five African-American women comprise this unflinching account of slavery in the pre-Civil War American South. Covering a wide range of narrative styles, the voices provide authentic recollections of hardship, frustration, and hope — from Mary Prince's groundbreaking account of a lone woman's tribulations and courage, the spiritual awakening of "Old Elizabeth," and Mattie Jackson's record of personal achievements, to the memoirs of Kate Drumgoold and Annie L. Burton. A compelling, authentic portrayal of women held as slaves in the antebellum South, these remarkable stories of courage and perseverance will be required reading for students of literature, history, and African-American studies.

In these classic memoirs, three indomitable women share their stories of surviving slavery and fighting for the freedom of others. Behind the Scenes: Born into slavery, Elizabeth Keckley used her talents as a seamstress to buy her freedom and eventually became Mary Todd Lincoln’s dressmaker. Keckley and the first lady formed a close friendship as they endured tragedies together, including the deaths of their sons and the assassination of President Lincoln. Keckley’s autobiography is an intimate portrait of life inside the White House as well as the stirring story of one woman’s fight to rise above the horrors of enslavement. Incidents in the Life of a Slave Girl: From the age of six, Linda Brent grows up serving a gentle mistress who teaches her to read and write. But when she tragically dies, Linda’s lecherous new master makes her life a living hell. Unable to join her two young children in their escape to the North, Linda hides in the attic above her grandmother’s house. For seven years, she waits for the opportunity to reunite with her son and daughter in the land of freedom. But when the chance finally comes, Linda discovers she has yet more pain to endure. Based on the true story of Harriet Jacobs’s escape from the South, this is one of American literature’s most powerful indictments of the evils of slavery. The Narrative of Sojourner Truth: After escaping enslavement, Sojourner Truth sued for her son’s release—the first time in American history that a black woman brought a white man to court and won. From then on, she made it her life’s mission to free all those who were considered less than equal. A major force in the abolitionist and women’s rights movements, Truth inspired generations with her legendary “Ain’t I a Woman?” speech. She also personally met with President Lincoln in 1864. Her stirring memoir is a powerful testament to the resilience of the human spirit.

Winner of the Los Angeles Times Book Prize in History: a bold and searing investigation into the role of white women in the American slave economy “Stunning.”—Rebecca Onion, Slate “Makes a vital contribution to our understanding of our past and present.”—Parul Sehgal, New York Times “Bracingly revisionist. . . . [A] startling corrective.”—Nicholas Guyatt, New York Review of Books Bridging women’s history, the history of the South, and African American history, this book makes a bold argument about the role of white women in American slavery. Historian Stephanie E. Jones-Rogers draws on a variety of sources to show that slave‑owning women were sophisticated economic actors who directly engaged in and benefited from the South’s slave market. Because women typically inherited more slaves than land, enslaved people were often their primary source of wealth. Not only did white women often refuse to cede ownership of their slaves to their husbands, they employed management techniques that were as effective and brutal as those used by slave‑owning men. White women actively participated in the slave market, profited from it, and used it for economic and social empowerment. By examining the economically entangled lives of enslaved people and slave‑owning women, Jones-Rogers presents a narrative that forces us to rethink the economics and social conventions of slaveholding America.

Possibly the first novel written by a black woman slave, this work is both a historically important literary event and a gripping autobiographical story in its own right. When her master is betrothed to a woman who conceals a tragic secret, Hannah Crafts, a young slave on a wealthy North Carolina plantation, runs away in a bid for her freedom up North. Pursued by slave hunters, imprisoned by a mysterious and cruel captor, held by sympathetic strangers, and forced to serve a demanding new mistress, she finally makes her way to freedom in New Jersey. Her compelling story provides a fascinating view of American life in the mid-1800s and the literary conventions of the time. Written in the 1850's by a runaway slave, THE BONDSWOMAN'S NARRATIVE is a provocative literary landmark and a significant historical event that will captivate a diverse audience.