"Jared Ross Hardesty's new critical edition, The Suriname Writings of John Gabriel Stedman, makes an important and necessary intervention into the study of eighteenth-century Caribbean travel writing and natural history by foregrounding the previously unpublished diary entries Stedman authored in Suriname, rather than focusing solely on his writings printed in the metropoles of Europe. Hardesty's edition is especially useful because it includes both a transcription of Stedman's Suriname diary and a detailed appendix tracking key discrepancies between the diary and Stedman's heavily revised printed natural history. This focus on genre and the editorial process in the production of Anglophone transatlantic writing is an excellent resource for students and scholars of the eighteenth-century Caribbean and the Atlantic World. I can see this being a helpful resource in an early American or eighteenth-century history or literature course, as it would enable students to easily compare differing editions of Stedman's Suriname writings. What Hardesty's edition of The Suriname Writings of John Gabriel Stedman offers is a more accessible study of how eighteenth-century writing on maroonage, slavery, science, and abolition was heavily mediated in the print and production process, as this compiled edition offers critical insight into the gendered and racial politics of life in the colonial Caribbean as well as how printers in the metropole attempted to alter the writing of colonizing authors like Stedman." —Elizabeth Polcha, Drexel University

The famed account of 18th-century slavery in South America, “made more readable by moderate editorial changes . . . A well-accomplished abridgment” (Colonial Latin American Historical Review). This abridgment of Richard and Sally Price’s acclaimed 1988 critical edition is based on John Gabriel Stedman’s original, handwritten manuscript, which offers a portrait at considerable variance with the 1796 classic. The unexpurgated text, presented here with extensive notes and commentary, constitutes one of the richest and most evocative accounts ever written of colonial life—and one of the strongest indictments ever to appear against New World slavery.

A study of Atlantic slavery generated by the visual arts. It considers in detail four sites which have generated particularly influential imagery: the middle passage; flight/escape; slave torture/punishment; and the popular imagery which evolved around Stowe's classic abolition text, Uncle Tom's Cabin.

An Alternate Selection of the History Book Club In 1695, John Miller, a clergyman traveling through New York, found it appalling that so many couples lived together without ever being married and that no one viewed "ante-nuptial fornication" as anything scandalous or sinful. Charles Woodmason, an Anglican minister in South Carolina in 1766, described the region as a "stage of debauchery" in which polygamy was "very common," "concubinage general," and "bastardy no disrepute." These depictions of colonial North America's sexual culture sharply contradict the stereotype of Puritanical abstinence that persists in the popular imagination. In Sexual Revolution in Early America, Richard Godbeer boldly overturns conventional wisdom about the sexual values and customs of colonial Americans. His eye-opening historical account spans two centuries and most of British North America, from New England to the Caribbean, exploring the social, political, and legal dynamics that shaped a diverse sexual culture. Drawing on exhaustive research into diaries, letters, and other private papers, as well as legal records and official documents, Godbeer's absorbing narrative uncovers a persistent struggle between the moral authorities and the widespread expression of popular customs and individual urges. Godbeer begins with a discussion of the complex attitude that the Puritans had toward sexuality. For example, although believing that sex could be morally corrupting, they also considered it to be such an essential element of a healthy marriage that they excommunicated those who denied "conjugal fellowship" to their spouses. He next examines the ways in which race and class affected the debate about sexual mores, from anxieties about Anglo-Indian sexual relations to the sense of sexual entitlement that planters held over their African slaves. He concludes by detailing the fundamental shift in sexual culture during the eighteenth century towards the acceptance of a more individualistic concept of sexual desire and fulfillment. Today's moral critics, in their attempts to convince Americans of the social and spiritual consequences of unregulated sexual behavior, often harken back to a more innocent age; as this groundbreaking work makes clear, America's sexual culture has always been rich, vibrant, and contentious.

Slave Portraiture in the Atlantic World is the first book to focus on the individualized portrayal of enslaved people from the time of Europe's full engagement with plantation slavery in the late sixteenth century to its final official abolition in Brazil in 1888. While this period saw the emergence of portraiture as a major field of representation in Western art, 'slave' and 'portraiture' as categories appear to be mutually exclusive. On the one hand, the logic of chattel slavery sought to render the slave's body as an instrument for production, as the site of a non-subject. Portraiture, on the contrary, privileged the face as the primary visual matrix for the representation of a distinct individuality. Essays address this apparent paradox of 'slave portraits' from a variety of interdisciplinary perspectives, probing the historical conditions that made the creation of such rare and enigmatic objects possible and exploring their implications for a more complex understanding of power relations under slavery.

When John Gabriel Stedman’s Narrative of Five Years Expedition was first published in 1796—a bowdlerized edition “full of lies and nonsense”—Stedman claimed to have burned two thousand copies. It nevertheless became an immediate popular success. A first-hand account of an eighteenth-century slave society, including graphic accounts of the worlds of both masters and slaves, it also contained vivid descriptions of exotic plants and animals, of military campaigns, and of romantic adventures. Illustrated by William Blake, Francesco Bartolozzi, and others, Stedman’s work was quickly translated into a half-dozen languages and was eventually published in over twenty-five different editions. The Prices’ acclaimed critical edition is based on Stedman’s original, handwritten manuscript, which offers a portrait at considerable variance with the 1796 classic. The unexpurgated text, presented here with extensive notes and commentary, constitutes one of the richest and most evocative accounts ever written of a flourishing slave society. The Prices restore early omissions involving Stedman’s horror at the Dutch planters’ use of casual torture to discipline their slaves; his love and admiration for Joanna, his mulatto mistress; his strong belief in racial equality; and his outrage that “in 20 Years two millions of People are murdered to Provide us with Coffee & Sugar.” Freed from its original publisher’s censorship, Stedman’s Narrative stands as one of the strongest indictments ever to appear against New World slavery.