Most stories of black women’s lives under slavery have never been told. Slave masters routinely brutalized black girls and women, justifying their dehumanizing treatment by labeling them “sexual savages.” Stripped, beaten, raped and forced to work as “breed sows,” black women suffered a double burden under slavery because of their sex. Men wrote the majority of published accounts of slave life, the most well known being the classic Narrative of the Life of Frederick Douglass. These slave narratives were often produced under the guidance of the anti-slavery movement, using “moral suasion” against slavery to influence a church-going audience, and therefore avoided the topic of sexual oppression so as not to shock the Victorian audiences they approached for aid.

More than one hundred book-length narratives were written before the end of the American Civil War. The mere existence of former slaves’ writings and oratory indicted the theories of racial and mental inferiority that justified the slave system. In this way, the act of exposing the horrors of slavery became vital to the struggle against it. During the 19th century, journalists, schoolteachers and local historians interviewed former slave women, and in the 1920s and 1930s more than two thousand former slaves were interviewed by the Works Progress Administration Federal Writers’ Project and by researchers at Fisk and Southern Universities. Most of the Slave Narrative Collection was kept in typescript in the Rare Book Room of the Library of Congress for nearly 40 years. This wealth of oral history was frequently dismissed as spurious, but after the civil rights movement, and even more recently, due to film documentaries like PBS’s Unchained Memories, they have found wider interest.

Two valuable slave accounts by women document the period leading up to the Civil War and through the defeat of Radical Reconstruction. One is a work of immense historical research, thoughtfully written by retired English professor Jean Fagan Yellin. Harriet Jacobs: A Life (Basic Civitas Books, 2004) expands on the events and people that shaped Jacobs’ own Incidents in the Life of a Slave Girl, Written by Herself (Harvard University Press, 1987). As recently as two decades ago, Jacobs’ autobiographical sketch was considered an obscure work penned by white abolitionist and editor Lydia Maria Child. With Jacobs’ authorship authenticated in the mid 1980s, hers became the first recognized slave narrative by a black woman.

The other story, The Bondwoman’s Narrative (Warner Books, 2002), is a semi-fictional work that dates from the 1850s. Discovered at an auction by Harvard African American Studies scholar Henry Louis Gates Jr., the only person to even bid on the manuscript, the book spent months on the New York Times best-seller list when it was published in 2002.

The fact that a black woman and former slave in the 19th century authored a novel has played a role in generating vigorous interest in this work of fiction. Its authentication meant that a black literary tradition existed much earlier than acknowledged. It also has much to do with the energetic quest for the identity of the author led by Gates, who rescued the book from historical oblivion.

The Bondwoman’s Narrative represents an important work because it deals effectively with the role of sexual and physical oppression of black women under slavery. Moreover, unlike many published slave narratives, this book is a manuscript in the author’s own handwriting, offering a unique window into the mind of a female slave. Caste, color and class—linked to widely-practiced miscegenation of master and slave—are at the core of this sentimental, gothic-style novel. An intriguing aspect of the story is the snobbery based on skin-color privileges and expectations of preferences in plantation life....

from www.icl-fi.org/ENGLISH/2005/Slavery-841.html