John Gimlette's Voyages

What is the connection between chilly Labrador (in Canada), and the steamy tropical world of Guyana? Well, more than you'd imagine. I'll be exploring their shared history over the next few posts.

SLAVERY'S LEGACY. In this series comparing the movie '12 Years a Slave' with the experience of Guyana and Suriname. In the film, there is no end in sight for slavery, no redemption and no justice.

THE OLD SLAVE PLANTATIONS. In this series comparing the movie. In the film, the planter's houses are portrayed as opulent and classical, grand homes for wealthy people.

SEX AND SLAVERY. In the film, Mr Ebbs is portrayed as a rapacious predator, helping himself to a slave girl whenever he feels like. There is no question of consent, and she is entirely at his mercy (which is in short supply). Confused and piqued by her blank response, his interest soon takes a more sadistic turn.

MANKIND AS PROPERTY. in the film there are several references to the fact that a slave is no more than the 'goods' of his or her owner. It is a deeply offensive concept.

REVOLT AND RETRIBUTION. In the film, the prospect of a revolt by the slaves seems impossible; they cannot communicate with each other; their travel is restricted; the slightest transgression is met with instantaneous and brutal punishment.

THE DERANGED MORALITY. In the film, the slavers are often depicted as god-fearing men, whose cruelty is interspersed with moments horror and self-loathing. 

THE PLANTER'S WIVES. In the film, Epps' wife is portrayed as a complex individual; bitter at her husband's obsession with a pretty slave girl; vengeful, and ultimately cruel and sadistic.

THE SLAVES' RELIGION. In the film, the slaves are depicted as Christian, and they receive religious instruction from the relatively benign planter, William Ford.

THE PLANTATIONS. In the film, the slaves are working cotton fields, whereas in the Guianas, the crop was sugar.