|In Memoriam – Glyn Salton-Cox
The English Department is devastated to announce the death over the New Year of our colleague Glyn Salton-Cox. To his family, loved ones, and friends here, in his native Britain, and throughout the world, we offer our deepest and most heartfelt condolences. Glyn was a brilliant scholar, a very popular teacher, and the kindest of colleagues.
The Department of English invites you to a commemoration of our colleague Glyn Salton-Cox on Friday, March 3d, 2023.
We will gather in the Faculty Club’s Betty Elings Wells Pavilion at 3:00 pm and then move to the Terrace at 4:00 pm for a reception. Please let us know of any accessibility requests.
The Slave Narrative
- Course Number: ENGL 122SN
Check on GOLD.
- Advisory Enrollment Information:
May be repeated for credit providing letter designations are different.
- Catalog Course Entry: ENGL 122AA-ZZ
- Quarter: Fall 2018
The slave narrative is one of the most important genres of American literature. First-person accounts by enslaved African Americans profoundly shaped international views of slavery in the early to mid-19th century. Although Western slavery has been represented in art and literature since it began, it is only fairly recently that the genre of the slave narrative has migrated into visual forms: photography, film, and the graphic novel. These attempts to re-envision the slave narrative pick up on the genre’s own tendency toward revision. Frederick Douglass and Sojourner Truth are only the best known of several formerly enslaved African American author-activists who published multiple versions of their own life stories.
We begin, therefore, with My Bondage and My Freedom, Douglass’ 1855 revision of his (now) better-known Narrative of the Life of Frederick Douglass, an American Slave (1845). We then consider how Douglass, the most photographed person of the 19th century, created a visual autobiography through carefully managed portraiture. Unlike Douglass, Sojourner Truth was a Northern slave who remained illiterate: nevertheless, as we shall see, she exerted remarkable control over her self-fashioning in print and imagery.
Finally, we turn to consider The Confessions of Nat Turner (1831), a notoriously inscrutable text purporting to present an interview with the leader of the most powerful slave insurrection in U.S. history. What does it mean to turn that story into a graphic novel? A feature film? How do current issues and concerns inflect modern retellings of slaves’ narratives?