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We have the story of a divided nation - not divided as we know now, but divided between states that banned slavery and states that embraced it. In 1848, in the slave state of Georgia, a husband and wife decided to escape. It was 800 miles to Philadelphia in the free state of Pennsylvania, but Ellen and William Craft made a plan to travel by train and boat in disguise. The writer Ilyon Woo reconstructs their escape in her new book, "Master Slave Husband Wife."
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ILYON WOO: Ellen was the daughter of her first enslaver. And from him, she had inherited a very light complexion, so she's actually the one who disguises herself as a master. She dons the outfit of a wealthy white male enslaver who is disabled and thus is all the more dependent on the services of her slave. And that role of the slave is performed by her husband, William.
WOO: It must have been terrifying. They thought they could be captured at any time, but there were certain crises moments that really brought this out. And she gradually learns throughout the journey how to harness that fear and how to be the master that people want to see on the road.
WOO: I think I might even point to the very beginning, as soon as they get to the train station. They're in the train. William has found his place in the - what's called a Negro car. Ellen has bought the tickets. They look outside, and there's a cabinetmaker from the shop where William works. And they learn later that he's had this strange intuition that something is off. And he comes, and he actually checks the cars of the train, and their hearts are beating, and they don't know what's going to happen. And then when they think that's over, Ellen looks to her side, and sitting there right next to her is a man who she served the night before, a close friend of her enslavers. I mean, it just - it couldn't have been a more terrifying start.
INSKEEP: I want to note one other thing about their story that you tell, and that is that after the end of slavery, after the end of the Civil War, they chose to return to the South, to South Carolina and then to Georgia. Why did they do that?
WOO: This is their continued journey as people who are challenging not only themselves and their community but the nation to rise up. And what they do is they draw on their own experiences having attended an agricultural and educational cooperative in England, and that's some place where they might have just stayed happily ever after for good. They could have settled there and been safe. But instead, as soon as they are free by the nation's laws, they are starting to make other plans, and they come back to America - not to Boston again, where they might have had a much more comfortable life, but they go back to Georgia, and they start this school. And there's an incredible testimony by this over-a-100-year-old woman who had been enslaved on the grounds where they opened their school. And she is remarking on just the unbelievable transformation and opportunity that she has on the same grounds where she experienced so much pain.
INSKEEP: Can I ask one more question that's just occurring to me as I'm sitting here? We are talking in a moment when there's a lot of debate about how to teach slavery in schools. And one line of thinking is that teaching slavery in schools is going to make white kids feel bad. Should white people feel bad about this story you tell?
WOO: I hope this story will be inspirational for people of all ages and all colors, all backgrounds. I mean, this is an American story, America reaching for better, Americans reaching for better. And I would have to say, too, I've been thinking a lot about this with the Martin Luther King Day, and my own journey with the story I feel like in many ways began with my own childhood educational experiences at a school named for the Reverend Dr. Martin Luther King Jr. And the way the history was taught to me at that time - because I did learn a lot about slavery. I did learn a lot about what is - might now be called Black history, but which was just presented to me as history alongside so many other histories. I was exposed to so many different American histories and international histories. And it felt to me like all of these things can and did coexist at once. I think the Crafts show us what the true meaning of American freedom can be.
Today, of course, there is widespread critical appreciation for the horror genre. In recent years, especially, the horror movie field has taken a sharp step up in terms of ambition and perceived legitimacy, with smart and multi-layered movies from artists like M. Night Shyamalan, Guillermo Del Toro, and Jordan Peele pushing boundaries and daring to let the genre wear its once-coded cultural subtext on its sleeve.
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