Discuss those the characteristics of a slave narrative in Fredrick Douglass’ “I Was Born”: Slave Narratives, Their Status as Autobiography and as Literature.” and take a stance on their significance in the text.
ACTION 6 AFRICAN AMERICAN LIT

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Read James Olney’s article, “I Was Born”: Slave Narratives, Their Status as Autobiography and as Literature.” Choose three of his characteristics of a slave narrative. Discuss those three characteristics in Fredrick Douglass’ narrative and take a stance on their significance in the text.

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In the Fredrick Douglass’s text, the sentence, “You have seen how a man was made a slave; you shall see how a slave was made a man.” Discuss the difference in Fredrick Douglass, the narrative, the language, etc. before and after this statement. What makes this statement siginificant?

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The Holocaust of Enslavement allowed the slave owners to employ physical and psychological tactics to control the enslaved. At times the psychological constraints were stronger than the physical constraints. The enslaved are described with animalistic characteristics. What are the descriptions? Why are they significant? What are the psychological implications of the characteristics? What is the psychological implication of the holiday on the enslaved?

46 “I WAS BORN”: SLAVE NARRATIVES, THEIR STATUS AS AUTOBIOGRAPHY AND AS LITERATURE* by James Olney Anyone who sets about reading a single slave narrative, or even two or three slave narratives, might be forgiven the natural assumption that every such narrative will be, or ought to be, a unique production; forso would go the unconscious argument-are not slave narratives autobiography, and is not every autobiography the unique tale, uniquely told, of a unique life? If such a reader should proceed to take up another half dozen narratives, however (and there is a great lot of them from which to choose the half dozen), a sense not of uniqueness but of overwhelming sameness is almost certain to be the result. And if our reader continues through two or three dozen more slave narratives, still having hardly begun to broach the whole body of material (one estimate puts the number of extant narratives at over six thousand), he is sure to come away dazed by the mere repetitiveness of it all: seldom will he discover anything new or different but only, always more and more of the same. This raises a number of difficult questions both for the student of autobiography and the student of Afro-American literature. Why should the narratives be so cumulative and so invariant, so repetitive and so much alike? Are the slave narratives classifiable under some larger grouping (are they history or literature or autobiography or polemical writing? and what relationship do these larger groupings bear to one another?); or do the narratives represent a mutant development really different in kind from any other mode of writing that might initially seem to relate to them as parent, as sibling, as cousin, or as some other formal relation? What narrative mode, what manner of story-telling, do we find in the slave narratives, and what is the place of memory both in this particular variety of narrative and in autobiography more generally?

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