Uncle Tom’s Cabin was the best-selling novel of the nineteenth-century. Written in the popularly-read sentimentalist style of Charles Dickens and others of his contemporaries, the book was voraciously read throughout the English-speaking world and largely turned the public opinion against slavery. However, the book is rife with stereotyped depictions of Black folk. This is just one indicator of the racism that runs as an undercurrent within this book. Even the foreword of the novel begins by describing the slaves as being of “an exotic race, wose ancestors, born beneath a tropic sun, brought with them, and perpetuated to their descendant, a character so essentially unlike the hard and dominant Anglo-Saxon race.”That might come as something of a surprise to some readers, seeing that we often like to think that abolitionists were consistently on the right side of history. This book should serve as a wake-up call that just because someone may have good intentions, their actions may run with a strong undercurrent of racism that plays into the system they hope to work against.
Among the other instances of explicit racism in the novel is the character of Black Sam. He is described as being “about three shades blacker than any other son of ebony on the place.” He is characterized as a kind of intellectual, a philosopher, but in a satirical kind of way. When Eliza runs away, we are told that he “was revolving the matter profoundly in all its phases and bearings, with a comprehensiveness of vision and a strict look out to his own personal well-being, that would have done credit to any white patriot in Washington” (37). There is a kind of humor here, where the notion of black man being such an intellectual that he could be in Congress is treated as a joke, and not as a very real possibility. This book came out a time when one of the most gifted and celebrated orators of the day was Frederick Douglass, a man and former slave whose talent and intellectualism could have easily earned him a seat in Congress. Yet, the intellectualism of Black Sam is treated as a joke, and the notion of him in Washington is, to the writer, laughable. Later, as he continues to think on the matter of Eliza’s escape, the author becomes even more explicit about this nature of his, saying “Sam spoke like a philosopher, emphasizing this – as if he had had a large experience in different sorts of worlds, and therefore had come to his conclusions advisedly” (38). It is the “as if” part that chafes me terribly. Although I have no example to cite, I can only imagine that during this time, there were writers who were supporters of slavery who were drawing up comedic sketches of a “black Congress” and other such things to highlight how ridiculousness they view the notion that black folk could be equals with Anglo-Saxon folk.
In this, Harriet Beecher Stowe seems to be playing on racist stereotypes, but not simply because she knew no better. She plays on them in a way that seems to specifically perpetuate the notion of black inferiority.