- About the Contributors
- Slave Narratives and Historical Memory
- Slave Narratives and Archival Research
- Slave Narratives and Historical Understanding
- Slave Narratives and U.S. Legal History
- The WPA Narratives as Historical Sources
- The Other Slave Narratives: The Works Progress Administration Interviews
- Lost in the Archives: The Pension Bureau Files
- The Witness of African American Folkways: The Landscape of Slave Narratives
- The Slave Narrative as Material Text
- Reading Communities: Slave Narratives and the Discursive Reader
- A Reflection on the Slave Narrative and American Literature
- The Slave Narrative and Visual Culture
- Slave Narratives, 1865–1900
- “This Horrible Exhibition”: Sexuality in Slave Narratives
- “There is Might in Each”: Slave Narratives and Black Feminism
- “I Rose a Freeman”: Power, Property, and the Performance of Manhood in the Slave Narratives
- Family and Community in Slave Narratives
- Collaborative American Slave Narratives
- Environmental Criticism and the Slave Narratives
- Locating Slave Narratives
- Slave Narratives and Hemispheric Studies
- Caribbean Slave Narratives
- Slave Narratives, the Romantic Imagination and Transatlantic Literature
- “Puzzling the Intervals”: Blind Tom and the Poetics of the Sonic Slave Narrative
- The Truth of Slave Narratives: Slavery’s Traces in Postmemory Narratives of Postemancipation Life
Abstract and Keywords
This article examines the antebellum African American slave narrative as a material artifact by discussing the genre’s diverse practices of authorship, publication, and circulation. It uses a print culture methodology to address the following issues: Who published the slave narrative? What did its original editions look like? How widely was it circulated? In what forms was it distributed? The perspectival shift from literary text to material object results in a richer understanding of the historical conditions under which the slave narrative was produced and provides new insights into the genre’s discursive meanings. By reframing the slave narrative as a material text, the article shows how the slave narrative’s discursive meanings are not only embedded in but also enlarged by the material practices of its publication and circulation.
Teresa A. Goddu teaches at Vanderbilt University. A specialist in nineteenth-century American literature and culture, she is the author of Gothic America: Narrative, History, and Nation (Columbia UP) and is currently completing a book project on antislavery print, material, and visual culture.
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