‘Master Slave Husband Wife: An Epic Journey from Slavery to Freedom’

AN AUDACIOUS, TRUE TALE OF FLEEING THE SOUTH.

REVIEWED BY KITTY KELLEY

The morning after Martin Luther King Day 2023 marked the release of Ilyon Woo’s extraordinary “Master Slave Husband Wife: An Epic Journey from Slavery to Freedom.” Reviewers received advance proofs from the publisher with a note from Bob Bender, executive editor of Simon & Schuster, extolling the book and wondering why the story of Ellen and William Craft was not yet a staple of American history.

Soon, Mr. Bender. Soon.

The Crafts’ story is no ordinary slave narrative, although “ordinary” hardly describes the harrowing attempts that desperate human beings made in 18th- and 19th-century America to flee slavery’s choke-hold. Hordes of bounty hunters laid in wait to capture fugitives and drag them back to their owners in chains. Few made it to freedom, which is why the Crafts are so extraordinary: They took white supremacy and turned it upside down and sideways in order to escape in plain sight, executing one of the boldest feats of self-emancipation in U.S. history.

Ellen Craft was born to a white father, James Smith, who also enslaved Ellen’s 18-year-old mother. Smith’s wife gave Ellen — a living, daily reminder of her husband’s infidelity — as a wedding present to their daughter, Eliza, when she married Robert Collins of Macon, Georgia. Being half-sisters, the girls had grown up together, and Ellen, looking as white as Eliza, was trusted as a “house slave” to sew and cook and take care of the children. While in Macon, Ellen fell in love with William Craft, an enslaved man who lived nearby. Together, they schemed to run away at the end of 1848, more than a decade before the Civil War.

They plot every detail of their escape with strategic precision. Ellen, an expert seamstress, begins sewing the costume she will wear to disguise herself as a white man in failing health traveling to Philadelphia for medical treatment, accompanied by “his” slave. She makes baggy plus-fours — the stylish men’s trousers of the day — a white silk shirt, a black cravat, and a custom-designed jacket that only a gentleman of means could afford. Traveling as “Mr. Johnson,” she wears dark green glasses and a “double-story” black silk hat “befitting how high it rises, and the fiction it covers.”

She applies poultices to her face and wraps her right hand in bandages and a sling to explain why she can’t sign travel documents at several stops. (Being enslaved, Ellen was not allowed to learn how to read or write.) The darkskinned William, acting like an obsequious slave, helps Ellen on and off trains and buses and boats, attending to “his” every need during their journey. At each stop, William ushers his infirm “master” to “his” first-class cabin before retiring to the colored quarters, where he eats from a slop bowl and sleeps standing up.

From Macon, the train rolls into Savannah, “City of Shade and Silence,” and site of the largest slave market in America, known as “the Weeping Time.” With staggering audaciousness, master and slave continue by steamship to Charleston, South Carolina, where, Woo writes:

“All along the harbor were tall ships and steamers, weighing the waves with their cargo; golden crops of rice, bales of cotton, chinoiserie — and chained below decks, the enslaved, a major commodity in this international port. There were slave sales near the docks, in shops, closer inland, and by the Custom House, which hosted the city’s largest open-air slave market on its north side, as Ellen knew. The sight was so disturbing to foreigners (and therefore bad for business) that, in a few years, the city would pass laws to hustle the trade indoors.”

Days later, the Crafts arrive in Richmond, Virginia, a veritable police state since Nat Turner’s Rebellion in 1831, still considered the most significant slave uprising in American history. “Mr. Johnson” and “his” slave rumble over Aquia Creek to Washington, D.C., and through a dark channel to Fort McHenry in Baltimore, where Francis Scott Key, himself an enslaver, wrote “The Star-Spangled Banner.” Three more stops, and the couple finally cross the Mason-Dixon Line and reach Philadelphia, the so-called City of Brotherly Love, where even the Quakers drew lines to separate the “colored” benches in their meetinghouses.

“Master Slave Husband Wife” hits all the marks of a masterpiece: unforgettable characters, stirring conflicts, breathtaking courage, and a pulsating plot wrapped around an unforgivable sin. Author Woo is a rare breed of writer — a scholar with a Ph.D. who’s nevertheless mastered the art of narrative nonfiction. She tells this story with incomparable skill, following the Crafts from Philadelphia to Boston, where they become icons of the abolitionist movement, traveling the antislavery lecture circuit. But the Fugitive Slave Act of 1850 forces them to keep on the run. By law, they’re still enslaved and deeply in danger, especially once Robert Collins, Ellen’s owner back in Georgia, hires bounty hunters to track them down.

No longer safe in the U.S., the Crafts move to England for several years, where they bring up six children and publish an account of their escape, “Running a Thousand Miles for Freedom.” When Abraham Lincoln signs the Emancipation Proclamation in 1863, the Crafts feel safe enough to return home, first to South Carolina and then to Georgia, where they start a school and live out the remainder of their days.

Ellen and William Craft embody the human drive to relentlessly pursue freedom. Ilyon Woo, in “Master Slave Husband Wife,” honors their story with grace and humanity, and presents her publisher with a phenomenon.

Stand by, Mr. Bender. Stand by.

Georgetown resident Kitty Kelley has written several number-one New York Times best-sellers, including “The Family: The Real Story Behind the Bush Dynasty.” Her most recent books include “Capturing Camelot: Stanley Tretick’s Iconic Images of the Kennedys” and “Let Freedom Ring: Stanley Tretick’s Iconic Images of the March on Washington.” She serves on the board of BIO (Biographers International Organization) and Washington Independent Review of Books, where this review originally appeared.