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Authors: Hannah Crafts

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ACKNOWLEDGMENTS

Several colleagues generously assisted in the search for Hannah Crafts. Richard Newman attended the Swann auction to bid for
Crafts’s manuscript on my behalf. Nina Kollars typed the manuscript, which she and Newman proofed orally. Kollars also prepared
a list of the novel’s characters, and suggested that I search the censuses for Hannah Vincent. Newman was especially helpful
in researching the history of the African Methodist Episcopal Church in New Jersey. Wyatt Houston Day, Kenneth Rendell, Dr.
Joe Nickell, Leslie Morris, and Craigen Bowen shared their expert opinions about the date of Hannah Crafts’s manuscript. Nina
Kollars and Kevin Rabener searched the Internet for signs of Crafts, combing genealogical websites and CD-ROM databases.

Lisa Finder, Esme Bahn, Paul Abruzzo, and Claudia Hill painstakingly researched census records in the National Archives; Lisa
Finder and Tim Bingaman expertly researched various records available only at the Mormon Family History Library; Esme Bahn
and Nina Kollars pursued various leads at the Library of Congress, where Kollars photocopied John Hill Wheeler’s entire diary
by hand. Sheldon Cheek and Brian Sinche transcribed and searched Wheeler’s diary and chronology for the years 1854–1861; Sinche
pointed out the presence of a slave named “Esther” in one of Wheeler’s 1857 entries, and Cheek analyzed points of overlap
between the diary and the novel.

My colleagues William L. Andrews, Nina Baym, Sterling Bland, Rudolph Byrd, Lawrence Buell, Vincent Carretta, Karen Dalton,
David Brion Davis, Ann Fabian, Frances Smith Foster, Evelyn Brooks Higginbotham, Gene Jarrett, Matthew Lee, David Levering
Lewis, Robert E. May, Nellie Y. McKay, Richard Newman, Susan O’Donovan, Terri Oliver, Tom Parramore, Augusta Rohrbach, Bryan
Sinche, Werner Sollors, and Jean Fagan Yellin read the manuscript of
The Bondwoman’s Narrative,
shared their theories about its origin, and patiently tolerated my phone calls during which we would brainstorm about possible
avenues of research. Terri Oliver analyzed the novel’s plot elements and assisted with the annotation of the text. Richard
Newman offered an analysis of the representation of black characters in
Uncle Tom’s Cabin.

Joanne Kendall, my expert and devoted secretary, typed several drafts of my introduction, the textual annotations, notes,
and appendixes. Professor Arthur R. Miller, the Bruce Bromley Professor of Law at Harvard, offered keen advice about copyright
law governing an unpublished nineteenth-century manuscript. My editor, Jamie Raab, brought enormous sensitivity to a very
complex editorial process.

Tina Bennett, my agent, believed in this project from the day I purchased the manuscript at auction. Laurence Kirshbaum expressed
tremendous enthusiasm and encouragement for this project from the first day I discussed it with him, introduced me to Kenneth
Rendell and Dr. Joe Nickell, and engaged their services to authenticate Hannah Crafts’s manuscript.

Sharon Adams, Henry Finder, Tina Bennett, William Andrews, Angela De Leon, and Richard Newman read and critiqued various drafts
of my account of the quest to find Hannah Crafts. My indebtedness to each will be difficult to repay.

BOOK: The Bondwoman's Narrative
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