Now, Miss Sue, take up. I jes' like to talk to you, honey 'bout dem days ob slavery; 'cause you look like you wan'ta hear all 'bout 'em. All 'bout de ol' rebels; an' dem niggers who left wid de Yankees an' were sat free, but, poor things, dey had no place to go after dey got freed. Baby, all us wuz helpless an' ain't had nothin'. I wuz free a long time 'fo' I knew it. My Mistess still hired me out, 'til one day in talkin' to de woman she hired me to, she, "God bless her soul", she told me, "Fannie yo' are free, an' I don't have to pay your Master for you now." You stay with me. She didn't give me no money, but let me stay there an' work for vitals an' clothes 'cause I ain't had no where to go. Jesus, Jesus, God help us! Um, Um, Um! You Chillun don't know. I didn't say nothin' when she wuz tellin' me, but done 'cided to leave her an' go back to the white folks dat fus own me. I plan' to 'tend a big dance. Let me see, I think it wuz on a Thursday night. Some how it tooken got out, you know how gals will talk an' it got to ol' Bil Duffeys ears (ol' dog!) an', baby do you know, mind you 'twont slavery time, but de 'oman got so mad cause I runned away from her dat she get a whole passel of 'em out looking for me. Dar wuz a boy, who heard 'em talkin' an' sayin' dey wuz goin' to kill me if I were found. I will never forget dis boy com' up to me while I wuz dancin' wid another man an' sed, "nobody knowes where you ar', Miss Moore, dey is lookin' fer you, an' is gwine kill you, so yo' come on wid me." Have mercy, have mercy my Lord, honey, you kin jes 'magin' my feelin' fer a minute. I couldn't move. You know de gals an' boys all got 'round me an' told me to go wid Squreball, dat he would show me de way to my old Mistess house. Out we took, an' we ran one straight mile up de road, den through de woods, den we had to go through a straw field. Dat field seem' like three miles. After den, we met another skit of woods. Miss Sue, baby my eyes, (ha! ha! ha!) wuz bucked an' too if it is setch a thin' as being so scared yo' hair stand on yo' head, I know, mine did. An' dat wasn't all, dat boy an' me puffed an' sweated like bulls. Was feared to stop, cause we might have been tracked. At last we neared de house an' I started throwin' rocks on de porch. Child I look an' heard dat white 'oman when she hit dat floor, bouncin' out dat bed she mus' felt dat I wuz comin' back to her. She called all de men an' had 'em throw a rope to me an' day drawed me up a piece to de window, den I held my arms up an' dey snatched me in. Honey, Squreball fled to de woods. I ain't never heard nothin' 'bout him. An' do you know, I didn't leave day 'oman's house no more for fifteen years?

Slave Narratives: A Folk History of Slavery in the United States is a folk history of slavery collected based on interviews with former slaves. It is also known as the WPA Slave Narrative Collection and was undertaken by the Federal Writers' Project of the Works Progress Administration from 1936 to 1938.

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Autobiographical accounts of former slaves compiled in the 1930s by the Federal Writers Project of the Works Progress Administration.

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"Marse Glenn had 64 slaves. On Sat'day night, de darkies would have a little fun on de side. A way off from de big house, down in de pastur' dar wuz about de bigges' gully what I is ebber seed. Dat wuz de place whar us collected mos' ev'ry Sa'day night fer our lil' mite o' fun frum de white folks hearin'. Sometime it wuz so dark dat you could not see de fingers on yo' han' when you would raise it fo' your face. Dem wuz sho' schreechy nights; de schreechiest what I is ever witnessed, in all o' my born natu'al days. Den of cose, dar wuz de moonlight nights when a darky could see; den he see too much. De pastur' wuz big and de trees made dark spots in it on de brightest nights. All kind o' varmints tuck and hollered at ye as ye being gwine along to reach dat gully. Cose us would go in droves sometime, and den us would go alone to de gully sometime. When us started together, look like us would git parted 'fo we reach de gully all together. One of us see som'tin and take to runnin'. Maybe de other darkies in de drove, de wouldn't see nothin' jes den. Dats zactly how it is wid de spirits. De mout (might) sho de'self to you and not to me. De acts raal queer all de way round. Dey can take a notion to scare de daylights outtin you when you is wid a gang; or dey kin scare de whole gang; den, on de other hand, dey kin sho de'self off to jes two or three. It ain't never no knowin' as to how and when dem things is gwine to come in your path right fo your very eyes; specially when you is partakin' in some raal dark secret whar you is planned to act raal sof' and quiet like all de way through. "Dem things bees light on dark nights; de shines de'self jes like dese 'lectric lights does out dar in dat street ever' night, 'cept dey is a scaird waary light dat dey shines wid. On light nights, I is seed dem look, furs dark like a tree shad'er; den dey gits raal scairy white. T'aint no use fer white folks to low dat it ain't no haints, an' grievements dat follows ye all around, kaise I is done had to many 'spriences wid dem. Den dare is dese young niggers what ain't fit to be called darkies, dat tries to ac' eddicated, and says dat it ain't any spe'rits dat walks de earth. When dey lows dat to me, I rolls my old eyes at dem an' axes dem how comes dey runs so fas' through de woods at night. Yes sirree, dem fool niggers sees dem jes as I does. Raaly de white folks doesn't have eyes fer sech as we darkies does; but dey bees dare jes de same.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.