This is Stowe's second book, another one depicting the horrors of southern slavery, published 4 years after Uncle Tom's Cabin and 5 years before the commencement of the Civil War, when new territories wanting admittance into the US (Texas, Oklahoma, name the states), were vying to become slave states, threatening to spread the heinous system. While a work of fiction, the book successfully documents the horrors of the slave system, and depicts how some slaves escaped into the Dismal Swamp (a real place spreading over a million acres in southeastern Virginia and northeastern North Carolina), where they often lived for years hiding from their pursuers, often in community. Dred, one of Stowe's most unusual heroic characters, proclaims his mission as follows: ". . .the burden of the Lord is upon me . . . to show unto this people their iniquity, and be a sign unto this evil nation!'" The book depicts that slaves were not all passive victims, as so often portrayed, and had many white sympathizers, but all were caught in the grips of a legal system so stacked against them that nobody could overturn it without threats to life and limb. The book was welcomed by the anti-slavery movement in Europe as well as in America, and helped move the needle of sympathy to finally overthrowing the system.
By : Harriet Beecher Stowe (1811 - 1896)
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The writer of this book has chosen, once more, a subject from the scenes and incidents of the slave-holding states.
The reason for such a choice is two-fold. First, in a merely artistic point of view, there is no ground, ancient or modern, whose vivid lights, gloomy shadows, and grotesque groupings, afford to the novelist so wide a scope for the exercise of his powers. In the near vicinity of modern civilization of the most matter-of-fact kind exist institutions which carry us back to the twilight of the feudal ages, with all their exciting possibilities of incident. Two nations, the types of two exactly opposite styles of existence, are here struggling; and from the intermingling of these two a third race has arisen, and the three are interlocked in wild and singular relations, that evolve every possible combination of romance.
Hence, if the writer's only object had been the production of a work of art, she would have felt justified in not turning aside from that mine whose inexhaustible stores have but begun to be developed.
But this object, however legitimate, was not the only nor the highest one. It is the moral bearings of the subject involved which have had the chief influence in its selection.
The issues presented by the great conflict between liberty and slavery do not grow less important from year to year. On the contrary, their interest increases with every step in the development of the national career. Never has there been a crisis in the history of this nation so momentous as the present. If ever a nation was raised up by Divine Providence, and led forth upon a conspicuous stage, as if for the express purpose of solving a great moral problem in the sight of all mankind, it is this nation. God in his providence is now asking the American people, Is the system of slavery, as set forth in the American slave code, right? Is it so desirable, that you will directly establish it over broad regions, where, till now, you have solemnly forbidden it to enter? And this question the American people are about to answer. Under such circumstances the writer felt that no apology was needed for once more endeavoring to do something towards revealing to the people the true character of that system. If the people are to establish such a system, let them do it with their eyes open, with all the dreadful realities before them.
One liberty has been taken which demands acknowledgment in the outset. The writer has placed in the mouth of one of her leading characters a judicial decision of Judge Ruffin, of North Carolina, the boldness, clearness, and solemn eloquence of which have excited admiration both in the Old World and the New. The author having no personal acquaintance with that gentleman, the character to whom she attributes it is to be considered as created merely on a principle of artistic fitness.
To maintain the unity of the story, some anachronisms with regard to the time of the session of courts have been allowed; for works of fiction must sometimes use some liberties in the grouping of incidents.
But as mere cold art, unquickened by sympathy with the spirit of the age, is nothing, the author hopes that those who now are called to struggle for all that is noble in our laws and institutions may find in this book the response of a sympathizing heart.
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