Fugitive Testimony traces the long arc of the African American slave narrative from the eighteenth century to the present in order to rethink the epistemological limits of the form and to theorize the complicated interplay between the visual and the literary throughout its history. Gathering an archive of ante- and postbellum literary slave narratives as well as contemporary visual art, Janet Neary brings visual and performance theory to bear on the genre’s central problematic: that the ex-slave narrator must be both object and subject of his or her own testimony. Taking works by current-day visual artists, including Glenn Ligon, Kara Walker, and Ellen Driscoll, Neary employs their representational strategies to decode the visual work performed in nineteenth-century literary narratives by Elizabeth Keckley, Solomon Northup, William Craft, Henry Box Brown, and others. She focuses on the textual visuality of these narratives to illustrate how their authors use the logic of the slave narrative against itself as a way to undermine the epistemology of the genre and to offer a model of visuality as intersubjective recognition rather than objective division.

In 1917, a young composer writes a suite of twenty pieces for piano. Each pass by like a gust of wind. They are short, violent and strange – the music of another world. In 1938, a young Jewish family flees Italy for Sydney, Australia. In 1942, another family, this time Polish, is nearly destroyed. Half a century later, a young man begins to understand the role the young composer's strange visions have played in everything that came before him and all that has come to be. In his first book, Simon Tedeschi applies elements – from history, memory and the body of the musician – to make a remarkable work of imagination and fractal beauty. He straddles the borders of poetry and prose, fiction and fact, trauma and testimony. Fugitive is filled with what Russian poet Konstantin Balmont called ‘the fickle play of rainbows’.

During the tumultuous decade before the Civil War, no issue was more divisive than the pursuit and return of fugitive slaves—a practice enforced under the Fugitive Slave Act of 1850. When free Blacks and their abolitionist allies intervened, prosecutions and trials inevitably followed. These cases involved high legal, political, and—most of all—human drama, with runaways desperate for freedom, their defenders seeking recourse to a “higher law” and normally fair-minded judges (even some opposed to slavery) considering the disposition of human beings as property. Fugitive Justice tells the stories of three of the most dramatic fugitive slave trials of the 1850s, bringing to vivid life the determination of the fugitives, the radical tactics of their rescuers, the brutal doggedness of the slavehunters, and the tortuous response of the federal courts. These cases underscore the crucial role that runaway slaves played in building the tensions that led to the Civil War, and they show us how “civil disobedience” developed as a legal defense. As they unfold we can also see how such trials—whether of rescuers or of the slaves themselves—helped build the northern anti-slavery movement, even as they pushed southern firebrands closer to secession. How could something so evil be treated so routinely by just men? The answer says much about how deeply the institution of slavery had penetrated American life even in free states. Fugitive Justice powerfully illuminates this painful episode in American history, and its role in the nation’s inexorable march to war.

Contains narratives of the experiences of teachers using the testimonial of Rigoberta Menchu, a Guatemalan Indian woman who won the Nobel Peace Prize in 1992. Includes background essays on Menchu and the role of her story in political correctness debates.