This chapter provides an overview of the French circum-Atlantic novel, as written primarily by metropolitan whites, between 1697 and 1807—the period in which both the French novel and French slavery evolved. The chapter links canonical novels, such as Prevost's Manon Lescaut and Voltaire's Candide, to the major themes and narrative mapping of less well-known colonial fictions by Alexandre-Olivier Oexmelin, Jean-François de Saint-Lambert, Germaine de Staël, and Jean-Baptiste Picquenard, and others. The chapter summarizes some of the major critical explanations for the relative paucity of representations of slavery in eighteenth-century French fiction as well as some accounts of colonial reading and writing among whites and people of colour in French Caribbean colonies. It argues that the French circum-Atlantic novel evolved as an imaginative space in which chattel slavery was transformed into an aesthetic atmosphere for depicting human enslavement to passion rather than human enslavement to humans. Emerging as the characteristic element of this fiction, the harangue spoken by the revolting slave leader or abused woman of colour translated historical slavery into a colonial hamartia, the internal flaw or enslavement to destiny.

In the third interlude, ‘The Storm’, I examine the performance of a single song by one singer, the crippled black sailor Joseph Johnson. Taking an approach somewhat indebted to Timothy Brook’s Vermeer’s Hat, I pursue the elements bound up in Johnson’s performance right across the globe, from the Antipodes to Jamaica, from Versailles to the West End stage, placing this East End performance within an imperial narrative of cultural appropriation, assimilation, and identity formation. Johnson emerges as in many ways the epitome of the ballad-singer: a marginal figure disadvantaged by both race and injury, whose self-fashioning (based on Jamaican Jonkonnu practice) was designed to reposition himself at the heart of both metropolitan and national notions of patriotism.