'Twas mercy brought me from my Pagan land, Taught my benighted soul to understand That there's a God, that there's a Savior too: Once I redemption neither sought nor knew. Some view our sable race with scornful eye, There colour is a diabolic dye. Remember, Christians, Negroes, black as Cain, May be refin'd, and join th' angelic train. (Wheatley 18) Life of Olaudazh Equiano describes the enslavement of an African who eventually embraces Christianity and Englishness. current critical consensus, however, questions the seriousness of the conversion and acculturation rhetoric deployed in the narrative. Several contemporary critics, such as Valerie Smith, Chinosole, and Wilfred D. Samuels, see the Christian rhetoric as disguise, Equiano's affirmations of his acculturation as tongue-in-cheek comments, his pride in his achievements as the pride of the African warrior, and, if none of the above are true, his whole narrative as a sad example of mental colonization. I am going to question these readings which tend to downplay the importance of the conversion discourse, because they seem to be too shaped by our current values, and considerably undermine Equiano's already troubled narrative authority. Although Equiano's embrace of Christianity and Englishness is certainly not whole-hearted, it should be taken more seriously than the current critical debate seems to allow. slave narrative is no less peculiar a kind of autobiography than the institution from which, though antagonistically, it emerged. In his seminal essay on the conditions and limits of autobiography Georges Gusdorf asserts, The concern, which seems so natural to us, to turn back on one's own past, to recollect one's life in order to narrate it, is not at all universal (29). of slave narratives certainly had more reason to engage in this activity than most. public assertion of the self, to some extent a luxury for most of us, was a matter of life and death for the ex-slave, whose previous social status was in itself a denial of his selfhood. On the other hand, in spite of their more obvious motivation, the of slave narratives were inevitably in more problematic positions than the average autobiographer. Their authorial freedom was complicated by a number of special concerns, such as their serious responsibilities to a community or the expectations of a likely audience. most important complication is related to the fictional liberties the of slave narratives are (not) allowed to take. Autobiographies are never purely factual, since human memory is seldom perfect and our experience is by definition subjective. In the slave narratives, however, as James Olney points out, reflections on this subjectivity had to be rigorously suppressed, lest they further undermine the already contested authenticity and authority of the text (|I Was Born'). most important reason for the fictional element in autobiography is, after all, the nature of the enterprise: the author's attempt at reconstructing the unity of a life across time (Gusdorf 37). problems involved in the creation of this unified vision were quite different for the ex-slave narrators film they are for the mainstream autobiographer. Since normally the vantage point of the autobiography is somewhat arbitrary, the author, in order to establish the coherence of the story and the significance of the destination, has to project a linearity onto the path which leads to the moment of writing. This problem is virtually non-existent in the slave narrative, for the simple reason that the path obviously leads from slavery to freedom, and the moment of significance is the acquisition (or reacquisition) of selfhood. Yet there is diversity and sometimes incongruity which have to be unified in the slave narratives, which are not so much in the pathways of the authors lives, but rather in the available discourses, the lines of argument for and against slavery. …
Read full abstract