Most of the enslaved people Cora knows—including Cora herself—have never known freedom, and the system of slavery is so brutal and expansive that most of them cannot imagine becoming free during their lifetime. However, Cora notes that even those who would never consider running away still dream of freedom: “Every dream a dream of escape.” Although enslaved people may not be able to consciously imagine freedom, they seek freedom in their unconsciousness. Meanwhile, other enslaved people turn to suicide or religion as an escape from their conscious reality, both of which promise freedom in death. Furthermore, the likelihood of dying in an escape attempt is so high that slaves who choose to run away are choosing death as much as they are choosing freedom. In this way, freedom and death are inherently interlinked for black people living under slavery.
The twinning of freedom and death is encapsulated most powerfully in the “Freedom Trail,” a seemingly endless path along which runaways and those who try to help them are hanged and left on display. The name “Freedom Trail” serves as a warning that, for enslaved people, the search for freedom means certain death. Of course, this warning seeks to conceal the fact that sometimes enslaved people do escape; on the rare occasions when runaways are successful, their freedom is also often linked to the deaths of others. For example, soon after fleeing Randall plantation Cora kills a 12-year-old white boy, and when Terrance Randall dies it is suggested that the distress caused by Cora’s escape led to his death. These events highlight that the struggle between black freedom and white supremacy is a fight to the death; both can survive only through the murder of the other.
In another sense, however, death and freedom are opposites. Life on the plantation is to some extent a form of living death—in Cora’s words, a way of being killed “slowly” by white slave-owners. The only way of escaping this slow death is by running away. Even Mabel, who dies from a snakebite shortly after fleeing Randall, achieves a kind of immortality by forever evading the slave-catchers who attempt to track her down: since Mabel’s body is swallowed by a swamp, none of the characters ever find out what happened to her, and thus they end up imagining that she is living a life of freedom up north. This idea of Mabel’s freedom encourages Caesar and Cora to escape, and thus ultimately bestows on Cora a chance at life and freedom.
Meanwhile, black people’s freedom is always haunted by the threat of death because of the inescapable system of white supremacy. The free utopia of Valentine’s farm meets a bloody end when Ridgeway and other whites descend on the community and murder those who live there. Similarly, the black people who live in the South Carolina dormitories think they are free, only to discover that they are in fact being subjected to a medical experiment that will infect them with illness and prevent them from having children, two fates that are a kind of metaphorical (and in some cases literal) death. The narrator observes that, “the women in the colored dormitories of South Carolina believed they knew liberty, but the surgeons' knives cut them to prove otherwise.” Elsewhere, the narrator remarks: “Because that's what you do when you take away someone's babies—steal their future.” Both these statements emphasize the idea that even free black people are at a constant risk of having their lives and future taken away from them, and that no black person living during the era of slavery can access freedom that isn’t in some sense haunted by death.
Death and Freedom ThemeTracker
Death and Freedom Quotes in The Underground Railroad
To escape the boundary of the plantation was to escape the fundamental principles of your existence: impossible.
Feast or no feast, this was where Cora ended up every Sunday when their half day of work was done: perched on her seat, looking for things to fix. She owned herself for a few hours every week was how she looked at it, to tug weeds, pluck caterpillars, thin out the sour greens, and glare at anyone planning incursions on her territory. Tending to her bed was necessary maintenance but also a message that she had not lost her resolve since the day of the hatchet.
The dirt at her feet had a story, the oldest story Cora knew.
Cora was still squinting over his idiocy when she got her first bowl of the soup. White man trying to kill you slow every day, and sometimes trying to kill you fast. Why make it easy for him? That was one kind of work you could say no to.
Every slave thinks about it. In the morning and in the afternoon and in the night. Dreaming of it. Every dream a dream of escape even when it didn't look like it. When it was a dream of new shoes.
This was the farthest she had ever been from home. Even if she were dragged
away at this moment and put in chains, she would still have these miles.
Once Mabel ran, Cora thought of her as little as possible. After landing in South Carolina, she realized that she had banished her mother not from sadness but from rage. She hated her. Having tasted freedom's bounty, it was incomprehensible to Cora that Mabel had abandoned her to that hell. A child. Her company would have made the escape more difficult, but Cora hadn't been a baby. If she could pick cotton, she could run. She would have died in that place, after untold brutalities, if Caesar had not come along. In the train, in the deathless tunnel, she had finally asked him why he brought her with him. Caesar said, "Because I knew you could do it."
Stolen bodies working stolen land. It was an engine that did not stop, its hungry boiler fed with blood. With the surgeries that Dr. Stevens described, Cora thought, the whites had begun stealing futures in earnest. Cut you open and rip them out, dripping. Because that's what you do when you take away someone's babies––steal their future. Torture them as much as you can when
they are on this earth, then take away the hope that one day their people will have it better.
Perhaps they would prefer not to know, Caesar said. What were these rumors compared to what they had been freed from? What sort of calculation would their neighbors make, weighing all the promises of their new circumstances
against the allegations and the truth of their own pasts? According to the law, most of them were still property, their names on pieces of paper in cabinets kept by the United States Government. For the moment, warning people was all they could do.
At one point the girls started for the attic but reconsidered after a discussion about the habits and customs of ghosts. There was indeed a ghost in the house, but she was done with chains, rattling or no.
Cora rarely thought of the boy she had killed. She did not need to defend her actions in the woods that night; no one had the right to call her to account. Terrance Randall provided a model for a mind that could conceive of North Carolina’s new system, but the scale of the violence was hard to settle in her head. Fear drove these people, even more than cotton money. The shadow of the black hand that will return what has been given. It occurred to her one night that she was one of the vengeful monsters they were scared of: She had killed a white boy. She might kill one of them next. And because of that fear, they erected a new scaffolding of oppression on the cruel foundation laid hundreds of years before. That was Sea Island cotton the slaver had ordered for his rows, but scattered among the seeds were those of violence and death, and that crop grew fast. The whites were right to be afraid. One day the system would collapse in blood.
Colored labor had erected every house on the park, laid the stones in the fountain and the paving of the walkways. Hammered the stage where the night riders performed their grotesque pageants and the wheeled platform that delivered the doomed men and women to the air. The only thing colored folks hadn't built was the tree. God had made that, for the town to bend to evil ends.
What a world it is, Cora thought, that makes a living prison into your only haven. Was she out of bondage or in its web: how to describe the status of a runaway? Freedom was a thing that shifted as you looked at it, the way a forest is dense with trees up close but from outside, from the empty meadow, you see its true limits. Being free had nothing to do with chains or how much space you had. On the plantation, she was not free, but she moved unrestricted on its acres, tasting the air and tracing the summer stars. The place was big in its smallness. Here, she was free of her master but slunk around a warren so tiny she couldn't stand.
How could such a bitter thing become a means of pleasure? Everything on Valentine was the opposite. Work needn't be suffering, it could unite folks. A bright child like Chester might thrive and prosper, as Molly and her friends did. A mother raise her daughter with love and kindness. A beautiful soul like Caesar could be anything he wanted here, all of them could be: own a spread, be a schoolteacher, fight for colored rights. Even be a poet. In her Georgia misery she had pictured freedom, and it had not looked like this. Freedom was a community laboring for something lovely and rare.
Cora had come to cherish the impossible treasures of the Valentine farm so completely that she'd forgotten how impossible they were. The farm and the adjacent ones operated by colored interests were too big, too prosperous. A pocket of blackness in the young state. Valentine's negro heritage became known years before. Some felt tricked that they'd treated a nigger as an equal and then to have that uppity nigger shame them with his success.
We can't save everyone. But that doesn't mean we can't try. Sometimes a useful delusion is better than a useless truth. Nothing's going to grow in this mean cold, but we can still have flowers. Here's one delusion: that we can escape slavery. We can't. Its scars will never fade. When you saw your mother sold off, your father beaten, your sister abused by some boss or master, did you ever think you would sit here today, without chains, without the yoke, among a new family? Everything you ever knew told you that freedom was a trick-yet here you are. Still we run, tracking by the good full moon to sanctuary.
Valentine farm is a delusion. Who told you the negro deserved a place of refuge? Who told you that you had that right? Every minute of your life's suffering has argued otherwise. By every fact of history, it can't exist. This place must be a delusion, too. Yet here we are.
And America, too, is a delusion, the grandest one of all. The white race believes––believes with all its heart––that it is their right to take the land. To kill Indians. Make war. Enslave their brothers. This nation shouldn't exist, if there is any justice in the world, for its foundations are murder, theft, and cruelty. Yet here we are.
On Randall, on Valentine, Cora never joined the dancing circles. She shrank from the spinning bodies, afraid of another person so close, so uncontrolled. Men had put a fear in her, those years ago. Tonight, she told herself. Tonight I will hold him close, as if in a slow dance. As if it were just the two of them in the lonesome world, bound to each other until the end of the song.