Uncle Tom's Cabin
Uncle Tom's Cabin is an anti-slavery novel by American author Harriet Beecher Stowe, published in 1852. After the publication of Uncle Tom's Cabin, Southerners accused Stowe of misrepresenting slavery. In order to show that she had neither lied about slavery nor exaggerated the plight of enslaved people, she compiled The Key to Uncle Tom's Cabin. The Key to Uncle Tom's Cabin was published to document the veracity of the depiction of slavery in Stowe's anti-slavery novel Uncle Tom's Cabin. First published in 1853, the book also provides insights into Stowe's own views on slavery. The book was subtitled "Presenting the Original Facts and Documents upon Which the Story Is Founded, Together with Corroborative Statements Verifying the Truth of the Work".
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Uncle Tom's Cabin
Uncle Tom's Cabin is an anti-slavery novel by American author Harriet Beecher Stowe, published in 1852. After the publication of Uncle Tom's Cabin, Southerners accused Stowe of misrepresenting slavery. In order to show that she had neither lied about slavery nor exaggerated the plight of enslaved people, she compiled The Key to Uncle Tom's Cabin. The Key to Uncle Tom's Cabin was published to document the veracity of the depiction of slavery in Stowe's anti-slavery novel Uncle Tom's Cabin. First published in 1853, the book also provides insights into Stowe's own views on slavery. The book was subtitled "Presenting the Original Facts and Documents upon Which the Story Is Founded, Together with Corroborative Statements Verifying the Truth of the Work".
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Uncle Tom's Cabin

Uncle Tom's Cabin

by Harriet Beecher Stowe

Narrated by John Howels

Unabridged — 18 hours, 55 minutes

Uncle Tom's Cabin

Uncle Tom's Cabin

by Harriet Beecher Stowe

Narrated by John Howels

Unabridged — 18 hours, 55 minutes

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Overview

Uncle Tom's Cabin is an anti-slavery novel by American author Harriet Beecher Stowe, published in 1852. After the publication of Uncle Tom's Cabin, Southerners accused Stowe of misrepresenting slavery. In order to show that she had neither lied about slavery nor exaggerated the plight of enslaved people, she compiled The Key to Uncle Tom's Cabin. The Key to Uncle Tom's Cabin was published to document the veracity of the depiction of slavery in Stowe's anti-slavery novel Uncle Tom's Cabin. First published in 1853, the book also provides insights into Stowe's own views on slavery. The book was subtitled "Presenting the Original Facts and Documents upon Which the Story Is Founded, Together with Corroborative Statements Verifying the Truth of the Work".

Editorial Reviews

Publishers Weekly - Audio

09/29/2014
Berneis gives a bravura performance in the latest audio edition of this classic tale. First published in 1851, Stowe’s novel focuses on the stories of two black slaves. The first is young Eliza, who makes a desperate run for freedom when she discovers that her son is about to be sold and taken away from her. The second is Uncle Tom, who is about to be sold by the masters he loves and trusts. Rather than run, he accepts his fate, holding on to his Christian faith to carry him through these tribulations. Both characters long for the peace that would come with the release of their bonds, and both, after much heartbreak, troubles and tears, find that peace, but in very different ways. Berneis is a consummate storyteller. She gives the book’s many characters distinct, individual voices that nimbly flow from one line to another. Her reading is simple and easy to listen to, even when the words and situations are disturbing. This is a powerful antislavery book that still resonates, over 100 years since its initial publication, and Berneis is an excellent choice to bring Stowe’s provocative novel to life. (May)

From the Publisher

Uncle Tom's Cabin is the most powerful and enduring work of art ever written about American slavery.”—Alfred Kazin

Leo Tolstoy

One of the greatest productions of the human mind.”

Frederick Douglass

[Beecher Stowe has] baptized with holy fire myriads who before cared nothing for the bleeding slave.”

American writer and award-winning literary critic Alfred Kazin

Uncle Tom’s Cabin is the most powerful and enduring work of art ever written about American slavery.”

New York Times

Belongs to the very short list of American books that helped create or consolidate a reform movement.”

#1 New York Times bestselling author Patricia Cornwell

Harriet Beecher Stowe’s Uncle Tom’s Cabin…demonstrates that one can write something that changes the world and makes it a better place. She reinforces the concept that the root of evil is the abuse of power, and it is important for all of us to remember that. It’s why people bully. It’s why they rape, torture, and murder.”

New York Times bestselling author Edmund Wilson

To expose oneself in maturity to Uncle Tom’s Cabin may…prove a startling experience.”

JULY 2009 - AudioFile

Stowe may have intended UNCLE TOM'S CABIN to be a political statement, but she also created an unforgettable story. In telling the story of the honest slave Tom, she vividly brings the hardships of slavery before the listener. Richard Allen lends his expert narration to this classic. In a deep, friendly voice, he movingly reads the novel. His articulate narration is augmented by his vocal characterizations, which he executes with careful attention, giving each character a distinctive voice. Tom's deep, somber voice almost resonates, while the cruel slave owner, Simon Legree, speaks in a raspy vernacular. Allen masterfully elicits an array of Southern dialects for Stowe's variety of characters. His thoughtful, engaged performance creates a memorable audio experience. D.M.W. © AudioFile 2009, Portland, Maine

Product Details

BN ID: 2940160226385
Publisher: Audioliterature
Publication date: 02/28/2019
Edition description: Unabridged
Age Range: 12 - 17 Years

Read an Excerpt

In Which the Reader Is Introduced to a Man of Humanity

Late in the afternoon of a chilly day in February, two gentlemen were sitting alone over their wine, in a well-furnished dining parlor, in the town of P-------, in Kentucky. There were no servants present, and the gentlemen, with chairs closely approaching, seemed to be discussing some subject with great earnestness.

For convenience sake, we have said, hitherto, two gentlemen. One of the parties, however, when critically examined, did not seem, strictly speaking, to come under the species. He was a short, thick-set man, with coarse, commonplace features, and that swaggering air of pretension which marks a low man who is trying to elbow his way upward in the world. He was much over-dressed, in a gaudy vest of many colors, a blue neckerchief, bedropped gayly with yellow spots, and arranged with a flaunting tie, quite in keeping with the general air of the man. His hands, large and coarse, were plentifully bedecked with rings; and he wore a heavy gold watch-chain, with a bundle of seals of portentous size, and a great variety of colors, attached to it, --which, in the ardor of conversation, he was in the habit of flourishing and jingling with evident satisfaction. His conversation was in free and easy defiance of Murray's Grammar, and was garnished at convenient intervals with various profane expressions, which not even the desire to be graphic in our account shall induce us to transcribe.

His companion, Mr. Shelby, had the appearance of a gentleman; and the arrangements of the house, and the general air of the housekeeping, indicated easy, and even opulent circumstances. As we before stated,the two were in the midst of an earnest conversation.

"That is the way I should arrange the matter," said Mr. Shelby.

"I can't make trade that way--I positively can't, Mr. Shelby," said the other, holding up a glass of wine between his eye and the light.

"Why, the fact is, Haley, Tom is an uncommon fellow; he is certainly worth that sum anywhere,--steady, honest, capable, manages my whole farm like a clock."

"You mean honest, as niggers go," said Haley, helping himself to a glass of brandy.

"No; I mean, really, Tom is a good, steady, sensible, pious fellow. He got religion at a camp-meeting, four years ago; and I believe he really did get it. I've trusted him, since then, with everything I have,--money, house, horses,--and let him come and go round the country; and I always found him true and square in everything."

"Some folks don't believe there is pious niggers, Shelby," said Haley, with a candid flourish of his hand, "but I do. I had a fellow, now, in this yer last lot I took to Orleans--'t was as good as a meetin, now, really, to hear that critter pray; and he was quite gentle and quiet like. He fetched me a good sum, too, for I bought him cheap of a man that was 'bliged to sell out; so I realized six hundred on him. Yes, ,I consider religion a valeyable thing in a nigger, when it's the genuine article, and no mistake."

"Well, Tom's got the real article, if ever a fellow had," rejoined the other. "Why, last fall, I let him go to Cincinnati alone, to do business for me, and bring home five hundred dollars. 'Tom,' says I to him, 'I trust you because I think you're a Christian--I know you wouldn't cheat.' Tom comes back, sure enough; I knew he would. Some low fellows, they say, said to him--`Tom, why don't you make tracks for Canada?' 'Ah, master trusted me, and I couldn't,'--they told me about it. I am sorry to part with Tom, I must say. You ought to let him cover the whole balance of the debt; and you would, Haley, if you had any conscience."

"Well, I've got just as much conscience as any man in business can afford to keep,--just a little, you know, to swear by, as 't were," said the trader, jocularly; "and, then, I'm ready to do anything in reason to 'blige friends; but this yer, you see, is a leetle too hard on a fellow--a leetle too hard." The trader sighed contemplatively, and poured out some more brandy.

"Well, then, Haley, how will you trade?" said Mr. Shelby, after an uneasy interval of silence.

"Well, haven't you a boy or gal that you could throw in with Tom?"

"Hum!--none that I could well spare; to tell the truth, it's only hard necessity makes me willing to sell at all. I don't like parting with any of my hands, that's a fact."

Here the door opened, and a small quadroon boy, between four and five years of age, entered the room. There was something in his appearance remarkably beautiful and engaging. His black hair, fine as floss silk, hung in glossy curls about his round, dimpled face, while a pair of large dark eyes, full of fire and softness, looked out from beneath the rich, long lashes, as he peered curiously into the apartment. A gay robe of scarlet and yellow plaid, carefully made and neatly fitted, set off to advantage the dark and rich style of his beauty; and a certain comic air of assurance, blended with bashfulness, showed that he had been not unused to being petted and noticed by his master.

"Hulloa, Jim Crow!" said Mr. Shelby, whistling, and snapping a bunch of raisins towards him, "pick that up, now!"

The child scampered, with all his little strength, after the prize, while his master laughed.

"Come here, Jim Crow," said he. The child came up, and the master patted the curly head, and chucked him under the chin.

"Now, Jim, show this gentleman how you can dance and sing." The boy commenced one of those wild, grotesque songs common among the negroes, in a rich, clear voice, accompanying his singing with many comic evolutions of the hands, feet, and whole body, all in perfect time to the music.

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