Chapter 4, “‘A Wandering Maniac’: Sojourner Truth’s Demonic Marronage” turns to a prophet seldom associated with the Caribbean. Yet Sojourner Truth, who was born in 1797 in the predominantly Dutch Ulster County, grew up in a world shaped by Atlantic empires; steeped in African, Native American, Caribbean, Spanish, Dutch, and French histories; and shaking with the tremors of the Haitian Revolution. Her first language was Dutch, her early spiritual beliefs were African, and her community was influenced by transatlantic and Caribbean channels of trade, labor, and revolution. This chapter examines the energy practices of Truth’s creolized milieu within a broader discourse on Truth’s celebrated mobility, historicizing her fugitivity within a transnational history of female marronage throughout the Americas. This hemispheric history of wandering evokes what Sylvia Wynter has understood as the “demonic grounds” of Black women’s liberation. Suturing the demonic (an energy force that emerges from Wynter’s critique of nineteenth-century physics) with Caribbean practices of marronage (a kinetic practice of flight against the immobilizing energy demands of chattel slavery), Truth, I argue, not only is an Atlantic subject but also expands critical understandings of twentieth- and twenty-first-century Caribbean philosophy and specifically Black women’s energy in the Americas.

This essay focuses on an archive of nineteenth-century visual images used to protest slavery and claim US citizenship for a group of Black individuals who previously had been denied it. One goal of picturing race in the nineteenth century in illustrated books, almanacs, print publications, paintings, pamphlets, and photography was not only to show the harms of slavery, but also to confer a type of symbolic citizenship onto African Americans, whether free or enslaved, that could be taken into the postbellum era. Yet especially before the war, illustrated works by white abolitionists often replicated binaries in which African Americans were continually in need of a white viewer’s assistance, whereas works by some African Americans undermined ideas of empathy and portrayed African Americans as exhibiting agency and self-determination. Black abolitionists such as Henry Bibb, Frederick Douglass, and Sojourner Truth used visual works to complicate flat portrayals of African American identity, and to play with the notion that such works created truth and captured their subjectivity. Their sophisticated manipulation of visual images exists as a contrast to the dominant culture’s practice of surveilling the bodies of the enslaved and configuring African Americans – whether enslaved or free – as passive and abject.