I couldn’t believe I was holding it, procured so easily from the public library: “The only known novel by a female African-American slave, and quite possibly the first novel written by a black woman anywhere,” read the cover jacket of The Bondwoman’s Narrative. Harvard Professor Henry Gates, Jr. who laid hold of the original 300-page handwritten manuscript launched an extraordinary quest to unmask the pseudonym of Hannah Crafts. Taking the clues he left, Professor Gregg Hecimovich from Winthrop University located the novelist in history at the end of an assiduous ten-year pursuit. Hannah Bond was the mulatto house slave who fled a North Carolina plantation disguised as a man and lived to tell her story cast in part fiction.
I have always felt a pull toward the African-American odyssey of slavery. The female slave experienced double jeopardy not only for her race but also for her sexual vulnerability. I beckon to light the invisible greatness of a woman who made her way out of bondage with pen as she did with her feet.
To authenticate and date the book, Dr. Gates consulted experts of historical documents. The characteristics of the paper, binding, handwriting, the iron-gall ink that had been popular until 1860, the style of the narrative were some of the elements they studied. A sedulous search among federal census records turned up the “Mr. Wheeler” whom Bond had served. In 1855 John Hill Wheeler enjoyed more fame than he had sought in government when word got out that his slave Jane Johnson had run away. Hannah describes how she found herself filling the vacancy. So the manuscript would have been drafted after 1855. I was captivated by the rigorous intricacy of the literary archeology.
Dr. Gates reports the observations of the keenest scholars in slave literature, the cause for their excitement over this particular self-authenticating text: “Hannah Crafts writes the way we can imagine black people talked to – and about – one another when white auditors were not around, and not the way abolitionists thought they talked, or black authors thought they should talk or wanted white readers to believe they talked. This is a voice that we have rarely, if ever, heard before…For Crafts, slaves are always, first, and last, human beings, ‘people’ as she frequently put it.” (Gates’ preface to the novel)
How did Hannah learn to read and write? She enjoyed her first secret reading lessons from an elderly white couple until the meetings were aborted. Dr. Joe Nickell, a historical investigator, paid “close attention to Crafts’ level of diction, the scope of her vocabulary…the degree of familiarity with other texts, or literacy, that she reflects in word choice, metaphors, analogies, epigraphs, and allusions to other words, concluding that she had the [modern equivalent] of an eleventh-grade education.” She evidently had taken liberties with John Wheeler’s private eclectic library. The plantation also housed students from a neighborhood finishing school. In a news radio interview, Hecimovich said, “Bond would have been listening and waiting on the young ladies who were boarding at the Wheeler family plantation while they were practicing…and she would have intuited, like other slaves we have record of, when she came to write her own stories. She could tell her story in the way that she heard the other stories.” (What does this say, incidentally, about the impact of quality literature upon listening children?) She has a beautiful, bold hand in the word selection and painting of imagery: “The clear cold sunshine glancing down the long avenue of elms…” While Hannah’s multisyllabic words [magnanimity, obsequious] tell of a rich bibliodiet, the many misspellings [meloncholy, inseperable] reveal the struggles of one who was self-taught. The novel was printed with the spelling errors and revisions Hannah had made intact, offering a precious glimpse of the subnarrative where writers play out choices in the birthing of a tale. Scholars thrill to have broken new ground in the landscape of antebellum literature. Gates explains, “To be able to study a manuscript written by a black woman or man, unedited, unaffected, unglossed, unaided by even the most well-intentioned or unobtrusive editorial hand, would help a new generation of scholars to gain access to the mind of a slave in an unmediated fashion heretofore not possible.”
Hannah draws a distinction between house and field slave, one of class and levels of degradation. It is when she is forced to marry into the squalor behind the Wheeler home that she decides to flee. “Accused of a crime of which I was innocent…most horrible of all doomed to association with the vile, foul, filthy inhabitants of the huts, and condemned to receive one of them for my husband my soul actually revolted with horror unspeakable…” (p. 205) The relative advantages she enjoyed as a house negro and very light mulatto distill the institution of slavery to its unrelenting truth. Hannah wasn’t whipped to work faster under the sun, didn’t have to mind the hogs in their sty. But no matter how light her skin, she was a thing with no license to go where she chose, wear what she wanted, say what she thought. The day she woke to was not hers. She got out of a bed she did not own to meet the needs and demands of another. Why would slavers think she had intellect, talent, feelings, a soul? Hannah was sold and bought, had no say under whose roof she ended up. “No one ever spoke of my father or mother, but I soon learned what a curse was attached to my race, soon learned that the African blood in my veins would forever exclude me from the higher walks of life. That toil unremitted unpaid toil must be my lot and portion, without even the hope or expectation of any thing better.” (p. 6) And even house slaves were not immune to the prospect of torture, rape, or murder. Hannah recounts the tale of a beloved nurse of the master’s son who, after begging for mercy, chose to suffer rather than drown her dog. Woman and pet were gibbeted on iron loops for six days with no food or water, making it through a fierce storm that only revived them to agony. A drop of black blood — and you were no better off than a dog. The establishment of slavery ironically did not discriminate between the classes extant in the world of slaves. Hannah writes of a man who agreed to part with his young chattel for a handsome amount of money: “He reck[on]ed not that she was a woman of delicate sensibilities and fine perfections – she was a slave, and
no more that was all to him.” (p.82)
The act of running away, of plunging into the harsh vicissitudes of threat and want, is obviously a bravery all its own. What impresses me as much are the battles Hannah won first in the deepest places of self. She was bold enough to envision not only her escape but well before, to have broken through the low, hard ceiling that kept slaves from the daylight of dreams. Taking the words that had come alive to her on paper, she would compose a novel that revealed truth. I find the vast verbal blueprint she was able to draw up in her mind astounding. It appears Hannah had not been “writing this for herself,” as “it was not an internal sort of story [in which she grows or changes] which makes me want to think of her imagining a public for it.” (Preface, lxiv) The pen at work was a soaring of the mind, a declaration of will. She did not heed the holes in her learning. A full imagination, insight, and instinct for the framing of words would do. Her sense of worth, not mollifiable, told her she was capable of attempting what no hand of woman had as of yet and that she could secure readers. This anchor is what impelled her escape, for “rebellion would be virtue, that duty to myself and my God actually required it, and that whatever accidents or misfortunes might attend my flight nothing could be worse than what threatened my stay.” (p. 206) I love the duty to herself. Her body, her spirit, her dignity were worth protecting, and she would see to it.
Some things are not worth fighting for. “Marriage like many other blessings I considered to be especially designed for the free, and something that all the victims of slavery should avoid as tending essentially to perpetuate that system…I had spurned domestic ties not because my heart was hard, but because it was my unalterable resolution never to entail slavery on any human being.” (pp. 206-207) Hannah decides it the wiser course for slaves to forgo certain pleasures. The sweetest of them – creaturely comfort and family – promise in the grander scheme only to embitter their own existence, feed the very beast of their anguish. So how far do you go to protect your child? Hannah describes the response of a young black woman forced to sell her children by their father, the master of the house. “Her eyes had a wild phrenzied look, and with a motion so sudden that no one could prevent it, she snatched a sharp knife…and stabbing the infant threw it with one toss into the arms of its father. Before he had time to recover from his astonishment she had run the knife into her own body, and fell at his feet bathing them in her blood. She lived only long enough to say that she prayed God to forgive her for an act dictated by the wildest despair.” (pp.177-178) This despair was no drama out of a writer’s fancy. Hannah likely knew of the publicized infanticide of 1856. Margaret Garner was fleeing a Kentucky plantation with her husband, their baby and two-year-old daughter Mary, and his parents when she was pursued by her master. Margaret slit Mary’s throat with a knife to spare her the waiting travail. It was a doomed attempt to solve the lesser of two impossible evils, and Margaret’s act of desperation articulates Hannah’s own conviction to refuse helotry another generation of victims. So accustomed to the relative comforts of the wealthiest nation in the world, I can’t imagine what would compel me to extinguish my son’s breath.
To run away is to face the real possibility of torture and death, but the road before holds out the irresistible hope of autonomy and birthright of dignity. To stay or go back is to assure oneself of a living death. The Underground Railroad saw many, though not enough, lives to freedom. But literacy liberates the mind and creates its own opportunity of voice. The depths to which Bond pursued her art yielded a remarkable achievement. She reached for access to that forbidden code of the written word we call reading, and went on to add her own undimmed testimony of good, evil, and the true to the dark pages of the human heart we call history.