Incidents in the Life of a Slave Girl
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Harriet Jacobs wanted to tell her story, but knew she lacked the skills to write the story herself. She had learned to read while young and enslaved, but, at the time of her escape to the North in 1842, she was not a proficient writer. She worked at it, though, in part by writing letters that were published by the New York Tribune, and with the help of her friend, Amy Post. Her writing skills improved, and by 1858, she had finished the manuscript of her book, Incidents in the Life of a Slave Girl.
L. Maria Child, a prominent white abolitionist, agreed to edit Jacobs book, although she apparently did little to alter the text except to rearrange some sections, suggest the removal of one chapter, and add material to another. In a letter to a friend, Child wrote, “I abridged, and struck out superfluous words sometimes; but I dont think I altered fifty words in the whole volume.”
The subject matter of the book — sexual abuse of slave women — was taboo in the mid-19th century, and Harriet had struggled over whether or not to expose herself so publicly. But she realized the significance of her story and so decided to go ahead, although she wrote under the psydonym, Linda Brent, and assigned fictitious names to everyone mentioned in the book. Child, too, was aware of the storys significance, writing in the books introduction:
“I am well aware that many will accuse me of indecorum for presenting these pages to the public; for the experiences of this intelligent and much-injured woman belong to a class which some call delicate subjects, and others indelicate. This peculiar phase of Slavery has generally been kept veiled; but the public ought to be made acquainted with its monstrous features, and I willingly take the responsibility of presenting them with the veil withdrawn.”
Harriet Ann Jacobs was born a slave in Edenton, North Carolina in 1813. After both her mother, Delilah, and father, Elijah, died during Jacobss youth, their maternal grandmother, Molly Horniblow, raised her and her younger brother, John. Jacobs learned to read, write, and sew under her first mistress, Margaret Horniblow, and hoped to be freed by her. However, when Jacobs was eleven years old, her mistress died and willed her to Dr. James Norcom, a binding decision that initiated a lifetime of suffering and hardship for Jacobs. Dr. Norcom represented later as Dr. Flint in Jacobss narrative, sexually harassed and physically abused the teenaged Jacobs as long as she was a servant in his household. Jacobs warded off his advances by entering into an affair with a prominent white lawyer named Samuel Treadwell Sawyer and bearing him two children: Joseph (b. 1829) and Louisa Matilda (c. 1833-1913), who legally belonged to Norcom. Fearing Norcoms persistent sexual threats and hoping that he might relinquish his hold on her children; Jacobs hid herself in the storeroom crawlspace at her grandmothers house from 1835 until 1842. During those seven years Jacobs could do little more than sit up in the cramped space. She read, sewed, and watched over her children from a chink in the roof, waiting for an opportunity to escape to the North. Jacobs was finally able to make her way to New York City by boat in 1842 and was eventually reunited with her children there. Even in New York, however, Jacobs was at the mercy of the Fugitive Slave Law, which meant that wherever Jacobs lived in the United States, the Norcoms could reclaim her and returned to slavery at any time. Around 1852, her employer, Cornelia Grinnell Willis, purchased her freedom from the Norcoms.
Jacobss decision to write her autobiography stemmed from correspondence with her friend, Amy Post, a Quaker abolitionist and feminist activist. Jacobs had befriended Post in Rochester, New York in the late 1840s after she had moved there to join the abolitionist movement with her brother John. Jacobs confided her past to Post, who encouraged her to write it down herself after Harriet Beecher Stowe rejected Jacobss request for an amanuensis. In 1861, with the aid of white abolitionist editor Lydia Maria Child, Jacobs published her narrative entitled Incidents in the Life of a Slave Girl pseudonymously as “Linda Brent.” Jacobss surviving correspondence with Child validates Incidents as entirely Jacobss work, with only minor editing on Childs part. Despite her use of a pseudonym, Jacobs did gain fame for a time after its publication. She entered into public service with her daughter during the 1860s, aiding refugees during the Civil War and opening the Jacobs Free School in Alexandria, Virginia. After several trips south and one abroad to England, Jacobs reestablished herself as a relief worker in Washington, D.C. in the 1880s and died there on March 7, 1897.
Harriet Jacobss autobiography, Incidents in the Life of a Slave Girl (1861), is the most widely read female antebellum slave narrative. In recounting her life experiences before she was freed, Jacobs offered her contemporary readers a startlingly realistic portrayal of her sexual history while a slave. Although several male authors of slave narratives had referred to the victimization of enslaved African American women by white men, none had addressed the subject as directly as Jacobs finally chose to. She not only documented the sexual abuse she suffered, but also explained how she had devised a way to use her sexuality as a means of avoiding exploitation by her master. Risking her reputation in the disclosure of such intimate details, Jacobs appealed to a northern female readership that might sympathize with the plight of a southern mother in bondage. Indeed, throughout her narrative, Jacobs focuses on the importance of family and motherhood. She details the strain of being separated from her grandmother and two children during her seven years in hiding, and afterwards in New York and Boston, when she lacked the means to free her daughter. As her biographer Jean Fagan Yellin has noted, Jacobss slave narrative is similar to other narratives in its story of struggle, survival, and ultimately freedom. Yet she also reworks the male-centered slave narrative genre to accommodate issues of motherhood and sexuality. By confronting directly the cruel realities that plagued black