James Boyd

WPA Slave Narratives

Typewritten records prepared by the Federal Writers’ Project 1936-1938. 1 Assembled by the Library of Congress Project work projects administration for the District of Columbia sponsored by the Library of Congress.

Set beside the work of formal historians, social scientists, and novelists, slave autobiographies, and contemporary records of abolitionists and planters, these life histories, taken down as far as possible in the narrators’ words, constitute an invaluable body of unconscious evidence or indirect source material, which scholars and writers dealing with the South, especially social psychologists and cultural anthropologists, cannot afford to reckon without. For the first and the last time, a large number of surviving slaves (many of whom have since died) have been permitted to tell their own story, in their own way. In spite of obvious limitations —bias and fallibility of both informants and interviewers, the use of leading questions, unskilled techniques, and insufficient controls and checks— this saga must remain the most authentic and colorful source of our knowledge of the lives and thoughts of thousands of slaves, of their attitudes toward one another, toward their masters, mistresses, and overseers, toward poor whites, North and South, the Civil War, Emancipation, Reconstruction, religion, education, and virtually every phase of Negro life in the South.

James Boyd
James Boyd

The narratives belong to folk —history recovered from the memories and lips of participants or eye-witnesses, who mingle group with individual experience and both with observation, hearsay, and tradition. Whether the narrators relate what they actually saw and thought and felt, what they imagine, or what they have thought and felt about slavery since, now we know why they thought and felt as they did. To the white myth of slavery must be added the slaves’ own folklore and folk-say of slavery. The patterns they reveal are folk and regional patterns—the patterns of field hand, house and body servant, and artisan; the patterns of kind and cruel master or mistress; the patterns of Southeast and Southwest, lowland and upland, tidewater and inland, smaller and larger plantations, and racial mixture (including Creole and Indian).

The narratives belong also to folk literature. Rich not only in folk songs, folk tales, and folk speech but also in folk humor and poetry, crude or skillful in dialect, uneven in tone and treatment, they constantly reward one with earthy imagery, salty phrase, and sensitive detail. In their unconscious art, exhibited in many a fine and powerful short story, they are a contribution to the realistic writing of the Negro. Beneath all the surface contradictions and exaggerations, the fantasy and flattery, they possess an essential truth and humanity which surpasses as it supplements history and literature.

About WPA Slave Narratives:

Slave Narratives TOC:








The present Library of Congress Project, under the sponsorship of the Library of Congress, is a unit of the Public Activities Program of the Community Service Programs of the Work Projects Administration for the District of Columbia. According to the Project Proposal (WPA Form 301), the purpose of the Project is to “collect, check, edit, index, and otherwise prepare for use WPA records, Professional and Service Projects.”

The Writers’ Unit of the Library of Congress Project processes material left over from or not needed for publication by the state Writers’ Projects. On file in the Washington office in August, 1939, was a large body of slave narratives, photographs of former slaves, interviews with white informants regarding slavery, transcripts of laws, advertisements, records of sale, transfer, and manumission of slaves, and other documents. As unpublished manuscripts of the Federal Writers’ Project these records passed into the hands of the Library of Congress Project for processing; and from them has been assembled the present collection of some two thousand narratives from the following seventeen states: Alabama, Arkansas, Florida, Georgia, Indiana, Kansas, Kentucky, Maryland, Mississippi, Missouri, North Carolina, Ohio, Oklahoma, South Carolina, Tennessee, Texas, and Virginia. 2

The work of the Writers’ Unit in preparing the narratives for deposit in the Library of Congress consisted principally of arranging the manuscripts and photographs by states and alphabetically by informants within the states, listing the informants and illustrations, and collating the contents in seventeen volumes divided into thirty-three parts. The following material has been omitted: Most of the interviews with informants born too late to remember anything of significance regarding slavery or concerned chiefly with folklore; a few negligible fragments and unidentified manuscripts; a group of Tennessee interviews showing evidence of plagiarism; and the supplementary material gathered in connection with the narratives. In the course of the preparation of these volumes, the Writers’ Unit compiled data for an essay on the narratives and partially completed an index and a glossary. Enough additional material is being received from the state Writers’ Projects, as part of their surplus, to make a supplement, which, it is hoped, will contain several states not here represented, such as Louisiana.

All editing had previously been done in the states or the Washington office. Some of the penciled comments have been identified as those of John A. Lomax 3 and Alan Lomax, who also read the manuscripts. In a few cases, two drafts or versions of the same interview have been included for comparison of interesting variations or alterations.

Washington, D.C.
June 12, 1941

B.A. Botkin
Chief Editor, Writers’ Unit
Library of Congress Project


Federal Writers' Project. WPA Slave Narratives. Web. 2007.

  1. On August 31, 1939, the Federal Writers’ Project became the Writers’ Program, and the National Technical Project in Washington was terminated. On October 17, the first Library of Congress Project, under the sponsorship of the Library of Congress, was set up by the Work Projects Administration in the District of Columbia, to continue some of the functions of the National Technical Project, chiefly those concerned with books of a regional or nationwide scope. On February 12, 1940, the project was reorganized along strictly conservation lines, and on August 16 it was succeeded by the present Library of Congress Project (Official Project No. 165-2-26-7, Work Project No. 540).[]
  2. The bulk of the Virginia narratives is still in the state office. Excerpts from these are included in The Negro in Virginia, compiled by Workers of the Writers’ Program of the Work Projects Administration in the State of Virginia, Sponsored by the Hampton Institute, Hastings House, Publishers, New York, 1940. Other slave narratives are published in Drums and Shadows, Survival Studies among the Georgia Coastal Negroes, Savannah Unit, Georgia Writers’ Project, Work Projects Administration, University of Georgia Press, 1940. A composite article, “Slaves,” based on excerpts from three interviews, was contributed by Elizabeth Lomax to the American Stuff issue of Direction, Vol. 1, No. 3, 1935.[]
  3. Mr. Lomax served from June 25, 1936, to October 23, 1937, with a ninety-day furlough beginning July 24, 1937. According to a memorandum written by Mr. Alsberg on March 23, 1937, Mr. Lomax was “in charge of the collection of folklore all over the United States for the Writers’ Project. In connection with this work he is making recordings of Negro songs and cowboy ballads. Though technically on the payroll of the Survey of Historical Records, his work is done for the Writers and the results will make several national volumes of folklore. The essays in the State Guides devoted to folklore are also under his supervision.” Since 1933 Mr. Lomax has been Honorary Curator of the Archive of American Folk Song, Library of Congress.[]

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