His childhood was marked by hunger and cold, and his teen years passed in one long stretch of hard labor, coma-like fatigue, routine floggings, hunger, and other commonplace tortures from the slavery handbook.ĭouglass makes it a point to nail the boastful lie put out by slaveholders – one that persists to this day – that "their slaves enjoy more of the physical comforts of life than the peasantry of any country in the world." He was parceled out to serve different members of the family. But the spotlight on one of America's great moral heroes is a welcome one.ĭouglass was born on a plantation in Eastern Maryland in 1817 or 1818 – he did not know his birthday, much less have a long-form birth certificate – to a black mother (from whom he was separated as a boy) and a white father (whom he never knew and who was likely the "master" of the house). President Trump recently described Frederick Douglass as "an example of somebody who's done an amazing job and is being recognized more and more, I notice." The president's muddled tense – it came out sounding as if the 19th-century abolitionist were alive with a galloping Twitter following – provoked some mirth on social media. He made sure to document his life in not one but three autobiographies. Douglass was acutely conscious of being a literary witness to the inhumane institution of slavery he had escaped as a young man. He has published widely in the field of nineteenth-century US literature and transatlantic literary studies.American writer, abolitionist and orator Frederick Douglass edits a journal at his desk, late 1870s. She is the author of the forthcoming The Anna Murray and Frederick Douglass Family Papers and Douglass Family Lives: The Biography.Īndrew Taylor is Professor of American Literature at the University of Edinburgh. She is editor of Frederick Douglass' Narrative of the Life of Frederick Douglass, An American Slave (2018) and My Bondage and My Freedom (2019). If I Survive (2018), Visualising Slavery (2016), Nineteenth-Century American Letters and Letter-Writing (2017), and Picturing Frederick Douglass (2015).
Her co-authored and co-edited works include Inside the Invisible (2019), Pictures and Power (2018), She is the author of African American Visual Arts (2008), Characters of Blood (2012), Suffering and Sunset (2015), Stick to the Skin (2019), and Battleground (2022). Edited by Celeste-Marie Bernier, University of Edinburgh, and Andrew Taylor, University of EdinburghĬeleste-Marie Bernier is Professor of United States and Atlantic Studies at the University of Edinburgh.
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