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Exiles offered readers a florid but gripping account of
Black Seminole history, and it remains fascinating today as
both history and artifact. As artifact, the book captured
the melodramatic style of antislavery rhetoric at its
mid-century peak. Like Harriet Beecher Stowe in Uncle Tom’s
Cabin, Giddings was able when necessary to paint with bold
strokes, focusing the attention of his readers on their
shared humanity with his subjects. Also like Stowe, he kept
the narrative flowing. While as an author Giddings made his
fair share of direct moral appeals to readers, he cluttered
Exiles with less high blown moral rhetoric than most of the
antislavery writing of the day. Exiles was in fact more
restrained than much of the American historical writing of
the period, which tended to combine sectionalist
philosophizing with mawkishly rendered Romanticism.
The book was nonetheless a polemic. On evidence that was
flimsy or nonexistent, Giddings was quick to project noble
antislavery motives to many of the “oppressed” figures in
his history. Osceola, he alleged, “hated slavery, and those
who practiced the holding of slaves, with a bitterness that
is but little understood by those who have never witnessed
its revolting crimes.” In fact, history leaves no record of
Osceola’s feelings on the subject. In describing his book’s
villains—those public figures whose actions thwarted the
Black Seminoles—Giddings was more cautious.* Ever the
politician, he saw no point in alienating readers with
personal attacks on Andrew Jackson or other southern
Democrats, preferring instead to let the Black Seminoles’
adversaries speak for themselves through voluminous
citations to official documents.
Some of the book’s factual errors stemmed from Giddings’
understandably limited access to information on the maroons,
but most resulted from his overt antislavery bias. Like
other radical Whigs, Giddings tended to view all extensions
of U.S. territory as machinations of the slave power; as
a result, he viewed the acquisition of Florida strictly as an
effort to capture land and negroes for slavery, without
considering the geopolitical imperatives of securing the
country’s borders or even more mundane explanations, like
the country’s push for economic expansion. Eager to find
common cause between oppressed blacks and Indians, he
romanticized African-Seminole relations, projecting
abolitionist principles where enlightened self-interest, and
even greed, held sway. Likewise he neglected to consider the
political tensions between blacks and Seminoles. Exiles also
contains scores of routine factual mistakes, like Giddings’
assertion that Abraham led the maroons to Mexico, when in
fact, there are no reports that he ever joined the exodus.
Despite these shortcomings, the book remains singularly
impressive for both its narrative strength and for all the
historical facts that its author did get right. Giddings' thorough
citations continue to point the way for contemporary
scholars; and, while they are often polemical in nature, the
citations built a
strong case for the book's central argument that the maroons
had been dispossessed of their freedom in contravention of
the
core principles of liberty on which the American republic
had been founded. Moreover, if the argument appeared
polemical in 1858, it is widely accepted as valid today.
The book was equally singular for taking on the subjects
of African-Indian relations and black resistance in a
forthright manner. Perhaps its greatest achievement was
Giddings'
willingness, based on historical fact, to ascribe agency to
militant African Americans. This was particularly evident in
Giddings’ chronicle of the Second Seminole War, where he
energetically described black efforts to fight for liberty.
Giddings couched many of his descriptions in terms that
connected the Exiles to the ideals of the American
Revolution—the proper context, he believed, for
understanding their struggles.
:
Giddings Exiles v, 98. ©
*Writing about pro-slavery individuals who were not well
known, like the Seminole subagent Marcellus Duval, Giddings
did not hesitate to paint melodramatic villains. To his
credit he allowed some human complexity to at least one
figure in the narrative, General Jesup, who appeared as
initially sinister but ultimately noble—a depiction in
keeping with the historical roles Jesup played vis-à-vis the
Black Seminoles.
Part 4, Freedom: l |