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Race
5 min read

Equiano: How an ex-captive became the voice of abolition

How did a formerly enslaved person think about their faith, freedom, and vocation? Luke Bretherton explores the politics and theology of Olaudah Equiano, whose story was central to the abolitionist movement and continues to resonate today.

Luke Bretherton is a Professor of Moral and Political Theology and senior fellow of the Kenan Institute for Ethics at Duke University in Durham, North Carolina.

Equiano
Portrait of Olaudah Equiano from the frontispiece of his biography

The most significant political revolution of the modern era was not that of America, France, Haiti, Russia, or China. It was the longer lasting, deeper rooted, and more pervasive revolution that is “humanitarianism.” Rather than a change in one form of political order, it was a revolution of moral sentiment that affects all political orders. The fruit of this revolution is that the acme of moral action is no longer love for a proximate “brother” but love for a remote “other.”  

A foundational text in this revolution is Olaudah Equiano’s The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African. Written by Himself (1789). Equiano, a formerly enslaved person, was a key activist in the movement to abolish slavery. Published on the eve of the Parliamentary enquiry into the slave trade and three months before the French Revolution, his autobiography was hugely popular, running to nine editions and numerous printings during his lifetime.

His autobiography is vital reading because the abolition movement in which he played such a key part is widely understood by historians as foundational to the birth of humanitarianism. It is also seen as providing the template for other, subsequent movements for social justice.

Equiano’s work and its impact needs situating within what is called the Second Great Awakening, a moment of religious fervour on both sides of the Atlantic. Dated as beginning in 1790, the Second Great Awakening represented a huge revival in popular Christianity. Out of it came modern evangelicalism. However, unlike its contemporary expression, the evangelicalism of the late 18th and early 19th century was a key influence on a number of movements for social reform, including the abolition movement.  

In his narrative, he portrays himself as the true Christian and the true human. When he encounters the European slave traders on their slave ships, they are the real savages, and despite what they say, they are not Christians.

At the heart of Equiano’s Narrative are two stories of conversion. The first is his conversion to Christianity. The second is his conversion to abolitionism. These two conversions are interrelated. Through his conversion to Christianity, he discovers an understanding of what it means to be human that leads him to see all forms of slavery as wrong. This judgment against slavery includes not just the industrial scale form of slavery driven by the plantation economy, but also what some see as the more benign forms of his own Eboe society in West Africa. 

Through his conversion narrative he gains possession of himself, his history, and his people as historical subjects able to speak and act for themselves. He becomes a political actor contributing to and a leading figure within a new political form – the social movement – that contested a dominant feature of the political economy – slavery. Crucially, he refuses and refutes the racialized ways in which Africans are negatively portrayed. Rather than a chattel, he is a Christian and a citizen with a story to tell. He is not merely biology to be exploited. He has a biography. And he is one whose testimony stands as evidence in the case against slavery.  In staging this claim he reverses the order of who listens and who speaks – he speaks and English readers listen and take instruction from him. 

In his narrative, he portrays himself as the true Christian and the true human. When he encounters the European slave traders on their slave ships, they are the real savages, and despite what they say, they are not Christians. He also represents himself in the text as a new St Paul. He’s an apostle calling others to discover both Christ and their humanity in their encounter with him through reading his story.  

Equiano’s is a profound and original work that constantly draws on Biblical frames of reference to both denounce the world as it is and announce a new world. The Bible for him is simultaneously a means of demanding recognition and offering critique.  

In the frontispiece of the book he is pictured as holding a Bible which is open at the Book of Acts in the New Testament. Acts chronicles the adventures of the apostles after Christ's death and resurrection. The frontispiece is the key to understanding the story Equiano tells. He is not Odysseus who returns home after many trials and tribulations. Rather, he is St Paul: one who becomes an apostle, taking on a new name and identity in the process. Like St Paul, Equiano suffers whipping, imprisonment (in the hold of a ship), storms, and travels in chains all for the sake of preaching the Gospel. And like St Paul, who ends his journey in Acts in Rome, Equiano’s journey leads him finally to London, the centre of his imperial world.  From there he writes an epistle addressed to the churches who are failing to be faithful to the Gospel.  In doing so, he appeals, like St Paul, to a universal humanity now available in Christ, in whom “there is neither Jew nor Greek, slave nor free, male and female; for all of you are one in Christ Jesus” (Galatians 3:28).      

The most significant political revolution of the modern era was not that of America, France, Haiti, Russia, or China. It was the longer lasting, deeper rooted, and more pervasive revolution that is “humanitarianism.”

There are those who read Equiano as simply a stooge for colonialism and capitalism. Yet they fail to convince. Such readings deny any connection to the abolition movement. And rather than being someone who is reclaiming his voice and agency, they turn him into a faceless and voiceless subject of forces beyond his control. 

To dismiss Equiano is to fail to see the truly revolutionary nature of the text he wrote. In his autobiography, Equiano describes the Christian masters who brutally tortured their slaves for the slightest offense, the ubiquitous rape of women, including very young girls, and the theft from slaves who had little or nothing. Alongside and in stark contrast to this brutality, exploitation, and alienation, Equiano narrates an alternative world, one characterized by intimacy and connection. In this world, he becomes friends with women and children, and forms equal partnerships with white men. The vision of freedom he presents does not entail violently taking control of the state (as was the pattern set by the French revolution). That vision of revolution simply changes who is in control of the state and the economy but does not change the basic form and character of relations between people. 

The freedom Equiano portrays is neither structural nor economic. Rather, he bears witness to a revolution of intimacy and sentiment. His life story embodies a changed structure of feeling, one where in place of the rape, whipping, chains, fear, disgust, and disdain that rules relations between blacks and whites there is the possibility of mutuality and respect. Equiano’s autobiography continues to reverberate as it calls us to a conversion of our hearts and mind so that we encounter others––no matter who they are or where they come from––as neither objects to exploit nor enemies to be feared but as neighbours in need of care. Such neighbour love may well be a fragile basis for hope in a world of carnage and desolation still living in the after lives of slavery. Nevertheless, it is as revolutionary now as it was in Equiano’s day. 

Review
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Freedom of Belief
4 min read

Face to face with the danger of faith

In the face of compassion fatigue, connecting with the humanity of a cause requires the artistic, not just the imperative. Belle Tindall reviews Clay and Canvas.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

A refugee looks out from a cover photograph of a book resting upright against a cylinder
The cover of Clay & Canvas.
Open Doors.

In 2018, in the Houses of Parliament, Hannah Rose Thomas displayed a collection of radiant portraits she had painted of Yazidi women who had escaped ISIS captivity. She did this to bring their ongoing plight to the attention of the Government. In 2019, at the London Riverside Development, three photographers (Chris de Bode, Abbie Trayler-Smith and Nora Lorek) used their photographs to powerfully tell the story of the hunger crisis in Sudan, Liberia, and the Central African Republic. In 2021, a 3.5-metre-tall interactive puppet of a 10-year-old Syrian girl named Amal was walked from Turkey to Kent, and in so doing, gave the world a glimpse of what such a journey entails for thousands of refugee children. And in 2022, the advocacy group, Open Doors, published a striking book entitled Clay and Canvas, which compellingly tells seven stories of individuals who have faced un-imaginable trauma because of their belief in Jesus.  

While these projects were created by different people, at different times, highlighting different situations, it seems to me that the powerful impact of all four artistic offerings is twofold. Firstly, they each force us to move beyond numbers and statistics, inviting us to come face-to-face with the humanity behind the headlines. And secondly, the utter beauty with which these pieces have been both created and curated hints at the startling beauty that can be found in the midst of pain. The glimmers of light that are ever present, even in the darkest of contexts.  

This is most certainly the case with Clay and Canvas.  

Its strikingly minimal aesthetic ensures that it can comfortably sit alongside the most classic of ‘coffee table books,’ but instead of being filled with recipes, interior decoration inspiration, or the complete lyrical works of Paul McCartney, this holds within it stories that will simultaneously break and inspire its reader’s heart.  

There are around 360 million people in the world who are currently under some sort of threat because of the Christian beliefs that they hold, and this book tells just seven of those harrowing stories.  

It introduces us to Baheer and Medet, two friends who played together as children, but now find themselves in a torture chamber. One of them is being electrocuted because of his Christian beliefs, while the other is looking on at the torture of the friend that he himself had reported to the authorities. Both are utterly terrified.  

We also meet Rebekah, Eti and Ratina as they are thrown into the back of a police van, sentenced to five years in a high-security prison for telling children about their belief in a man called Jesus.  

And then there’s Kirti, who is being continually hounded by a violent mob, her body repeatedly broken and battered by their sheer anger at her refusal to deny her faith.  

These stories are an afront to the comforting habit one may have of disassociating individual realities from vast statistics.

These stories don’t give their readers the blissful luxury of ignorance. They are an afront to the comforting habit one may have of disassociating individual realities from vast statistics, of regarding this epidemic of violence as some sort of faceless or nameless phenomena.  

Rather, readers are brought face-to-face with the detail of religious persecution. We are shown the thought-processes of a man on the brink of death, we are walked through the moment-by-moment decisions of a person attempting to flee for their life, we are exposed to the agony of three women being separated from their children.  

The writing is heart-wrenchingly powerful, the stories its telling, infinitely more so. This is certainly not your average ‘coffee-table book.’ 

As well as the written stories, there are photographs of these persecuted individuals dotted through-out the book. Readers are not only told their stories, they are also shown their faces. These pictures serve to remind us that this discrimination isn’t happening to people who resemble cinematic-style heroes, it is happening to husbands, wives, daughters, sons, neighbours, friends, mothers, fathers. 

2023 is the most dangerous year to be a Christian on record, it is integral to the increasing number of people who are losing their right to hold their beliefs that this reality is continually, and indeed creatively, amplified. 

And yet, as noted earlier, the darkness of these stories is not devoid of glimmers of light. There is a distinct thread of redemption that is weaved through this resource, and indeed, these people’s lives. The beauty is found in the forgiveness shown by those who have been betrayed, the hope found by those who have nothing else to hold onto, the ‘gentle, defiant glow’ of those who are stubborn in their selflessness – all of it all the more staggering for being completely true.  

This book presents its readers with a costly kind of goodness. A truly counter-cultural form of beauty. If you sit with it long enough, it will begin to chip away at the modern and ever-so-Western tendency we have to consider pain and beauty as forces that are mutually exclusive.  

Art, in its various forms, is one of the most powerful tools we humans have, and that is never more evident than when it is used to communicate circumstances with a depth that statistics alone could never reach. Clay and Canvas is certainly one such example.  

 

Clay and Canvas has been produced by Open Doors in Partnership with Something More Creative