Cover

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pp. C-C

Title Page, Copyright Page

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pp. i-iv

Contents

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pp. v-vi

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Introduction: Tempest in the Plantation Zone

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pp. 1-26

Perhaps the most well-known lines of William Shakespeare’s colonial play The Tempest (1609), Ariel’s lyric account of the transformation of the European traveler Alonso’s body might seem the spun stuff of fantasy. After all, Ariel sings it to enchant Alonso’s son Ferdinand so as to further Prospero’s plan of dividing the Europeans shipwrecked on the island. Yet Ariel’s ...

I

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1. Swamp Sublime: Ecology and Resistance in the American Plantation Zone

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pp. 29-50

In the description of Georgia’s sea islands that opens the second part of his Travels (1791), William Bartram imagines that the marshlands that connect the mainland to these islands are part of a swampy archipelago that extends from Virginia to Mississippi to Vera Cruz.1 Th is vision of geographical continuity either anticipates Manifest Destiny or, on the contrary,...

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2. Plant Life: Tropical Vegetation, Animate Matter, and Cosmopolitical Form

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pp. 51-82

One of the most animate protagonists of Alexander Humboldt’s labyrinthine Personal Narrative [Relation historique] (1814) is tropical vegetation powerful enough to overpower human life.1 During his 1799–1804 travels through Tenerife, Venezuela, Columbia, Cuba, Ec ua dor, Peru, Mexico, and fi nally the United States, where he spent time in Philadelphia and ...

II

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3. On Parahumanity: Creole Stories and the Suspension of the Human

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pp. 85-114

In April 1764, Fenelon, the governor of Martinique, wrote:
Je suis arrivé à la Martinique avec tous les préjugés d’Eu rope contre la rigueur avec laquelle on traite les nègres et en faveur de l’instruction qu’on leur doit pour les principes de notre religion . . . Je suis parvenu à croire fermement qu’il faut mener les nègres ...

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4. Persons without Objects: Afro-American Materialisms from Fetishes to Personhood

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pp. 115-140

Phillis Wheatley, much remarked- upon during her own life and later as the first African American poet, is particularly notable for the disappearances performed by her poetry. Her elegies never mourn the end of life on earth, as life on earth is scarcely described and best left behind. And she hardly bothers spinning fancies about the spring, as the seasons pass ...

III

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5. Involving the Universe in Ruins: Sansay's Haitian Anabiography

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pp. 143-172

In the opening scenes of Leonora Sansay’s travelogue Secret History (1808) as well as the novel sometimes attributed to her, Zelica (1820), the Haitian revolutionary general Henri Christophe sets Saint- Domingue’s capital city Cap François on fire.1 In Zelica, some of the white creole women fleeing the fire sit “in mute anguish” on the mountains that rise behind the city ...

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Epilogue: Afterlives of Ariel's Ecology

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pp. 173-182

In the opening chapter of Edgar Allan Poe’s Narrative of Arthur Gordon Pym of Nantucket (1838), Poe’s protagonist, Pym, is swept from the brig Ariel when it is run down by the whaler Penguin. Pinned to the keel of the Penguin, Pym rides the Atlantic, facing downward to the sea’s depths and drowning. Pym’s opening sequencing of storms, shipwreck, and the...

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Acknowledgments

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pp. 183-186

I am happy to have this opportunity to acknowledge the persons and institutions that helped me to write this book. I am grateful to those readers and audiences who at various stages in the work’s progress offered criticisms and suggestions that made my work harder but also helped make the book better. On this count, I am particularly grateful to the anonymous ...

Notes

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pp. 187-244

Index

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pp. 245-258