Mary Island, age eighty, of El Dorado (Union County) recalled that at “seven years old I was cutting sprouts almost like a man and when I was eight I could pick one hundred pounds of cotton.
When a tribute gift is given the honoree will receive a letter acknowledging your generosity and a bookplate will be placed in a book. Black interviewers faced co-workers and supervisors who second-guessed their methods and their objectivity. 72201. The incident had resulted in a crushed jawbone and permanent disfigurement. For the last time, former slaves told their stories, reflecting upon every facet of their slave life some seventy years after the fact, and Arkansas played a pivotal role in seeing that their stories were recorded for future generations. And that is valuable beyond measure. Give a donation in someone’s name to mark a special occasion, honor a friend or colleague or remember a beloved family member. They just whipped me ’cause they could—’cause they had the privilege. As many historians have noted, a deep power imbalance often complicated the relationship between white interviewers and black interviewees. Each narrative taken alone offers a fragmentary, microcosmic representation of slave life. Title: Slave Narratives: A Folk History of Slavery in the United States From Interviews with Former Slaves: Volume I, Alabama Narratives Author: Work Projects Administration Release Date: May 02, 2011 [EBook #36020] The FWP’s ex-slave interviews were not the first attempt at capturing these histories.
Preliminary plans for the Writers' Project made no provision for collecting slave autobiographies, testimonies, and reminiscences. Despite receiving confirmation in this particular case, Richardson continued to believe that Lewis was too credulous when it came to the stories of what she called “old Negros” who were “creatures of fine imagination who like to tell stories after a manner that will be pleasing to [an] audience.” It took a supposedly objective (white) editor like Richardson—who defended herself in letters to the federal directors of the project as “a liberal Southerner really!”—to see the truth of things. James Bolton, interviewed by a white worker in Athens, Georgia, told this story about whippings: In this passage, Bolton wrapped a plain truth about a slaveholder’s violence—“he sho’ could burn ‘em up with that lash”—in humor and stereotype.
Under this umbrella of inquiry, Babcock hired Samuel S. Taylor, a black man, to complete a survey, “Social and Economic Life of the Negro in Greater Little Rock,” started by previously fired African Americans. Despite many obstacles, Randolph and other interviewers managed to get stories like the Everetts’ into the historical record. He was assisted by author and poet George W. Cronyn, renowned folklorist John A. Lomax, and the Office of Negro Affairs headed by Sterling A.
Comparing ex-slave narratives gathered by black interviewers in Florida with those gathered by white interviewers in Georgia (where four employees of the FWP were also members of the United Daughters of the Confederacy), Stewart finds many instances of such hidden truths, recorded in collaboration with black interviewers and unwittingly by white interviewers.
“[Clay’s father] was too loyal to his color to assist in making their lives more unhappy,” Dixon reported Clay saying. Woodward, C. Vann.
King told Lewis that she had taken some candy at age 8 or 9 and that her slaveholder had punished her by holding her head under a rocking chair while she whipped her. “Ex-Slaves Interviews and the Historiography of Slavery.” American Quarterly 36 (Summer 1984): 181–210.
The Works Progress Administration (WPA) was the largest agency in Franklin D. Roosevelt’s New Deal economic relief, reform, and recovery agenda during the Great Depression, as their “make-work” programs got … My mistress give us a task to do and when we got it done, we went to our playhouse in the yard.”. The FWP’s national director was Columbia University law graduate Henry G. Alsberg, who was a lawyer, former foreign correspondent, and director of the Provincetown Theatre.
Bearing Witness: Memories of Arkansas Slavery: Narratives from the 1930s WPA Collections.
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