Edlie Wong critically recuperates these cases in an effort to reexamine and redefine the legal construction of freedom, will, and consent. This study places such historically central anti-slavery figures as Frederick Douglass, Olaudah Equiano, and William Lloyd Garrison alongside such lesser-known slave plaintiffs as Lucy Ann Delaney, Grace, Catharine Linda, Med, and Harriet Robinson Scott. Situated at the confluence of literary criticism, feminism, and legal history, Neither Fugitive nor Free presents the freedom suit as a "new" genre to African American and American literary studies.
Edlie L. Wong is an Associate Professor at the University of Maryland and author of Neither Fugitive Nor Free: Atlantic Slavery, Freedom Suits, and the Legal Culture of Travel (NYU Press, 2009) and co-editor of George Lippard’s The Killers.
Taking his title from Richard Wright’s poem "The FB Eye Blues," Maxwell details how the FBI threatened the international travels of African American writers and prepared to jail dozens of them in times of national emergency. All the same, he shows that the Bureau’s paranoid style could prompt insightful criticism from Hoover’s ghostreaders and creative replies from their literary targets. For authors such as Claude McKay, James Baldwin, and Sonia Sanchez, the suspicion that government spy-critics tracked their every word inspired rewarding stylistic experiments as well as disabling self-censorship.
Illuminating both the serious harms of state surveillance and the ways in which imaginative writing can withstand and exploit it, F.B. Eyes is a groundbreaking account of a long-hidden dimension of African American literature.
Award-winning poet and critic Kevin Young tours us through a rogue’s gallery of hoaxers, plagiarists, forgers, and fakers—from the humbug of P. T. Barnum and Edgar Allan Poe to the unrepentant bunk of JT LeRoy and Donald J. Trump. Bunk traces the history of the hoax as a peculiarly American phenomenon, examining what motivates hucksters and makes the rest of us so gullible. Disturbingly, Young finds that fakery is woven from stereotype and suspicion, race being the most insidious American hoax of all. He chronicles how Barnum came to fame by displaying figures like Joice Heth, a black woman whom he pretended was the 161-year-old nursemaid to George Washington, and What Is It?, an African American man Barnum professed was a newly discovered missing link in evolution.
Bunk then turns to the hoaxing of history and the ways that forgers, plagiarists, and journalistic fakers invent backstories and falsehoods to sell us lies about themselves and about the world in our own time, from pretend Native Americans Grey Owl and Nasdijj to the deadly imposture of Clark Rockefeller, from the made-up memoirs of James Frey to the identity theft of Rachel Dolezal. In this brilliant and timely work, Young asks what it means to live in a post-factual world of “truthiness” where everything is up for interpretation and everyone is subject to a pervasive cynicism that damages our ideas of reality, fact, and art.