The story is a dramatic episode of the revolt of the blacks of St. Domingo in 1791. Bug-Jargal, the hero, is a negro, a slave in the household of a planter. He is secretly in love with his master's daughter, a poetic child, betrothed to her cousin, Leopold d'Auverney. The latter saves the life of Bug-Jargal, who is condemned to death for an act of rebellion. When the great revolt breaks out, and the whole island is in flames, Bug-Jargal protects the young girl, and saves the life of her lover. He even conducts D'Auverney to her he loves, and then, in the fullness of sublime abnegation, he surrenders himself to the whites, who shoot him dead.

Historical novel by Victor Hugo set in 1791, during the tumultuous early years of the slave revolt that would lead to the Haitian Revolution, and the creation of the black republic of Haiti in 1804. The novel follows the interracial friendship and rivalry between the enslaved African prince of the title and a French military officer named Leopold D'Auverney. First published in 1826, it is a reworked version of an earlier short story of the same title published in the magazine "Le conservateur littéraire" in 1820. Several English translations have been published; the first, a modified version with the title "The slave-king" was published in 1833.

In this fanciful and richly imaginative story, one of the most original and important young European comic artists imagines a frozen world thousands of years hence in which all human history has been forgotten. A small group of archaeologists come upon the Louvre, buried in age-old snow, and cannot begin to explain all of the artifacts they see. Their interpretations of the wonders before them strike a humorous, absurd, and farcical tone. One of the few books coedited by the Louvre, this graphic novel features stunning illustrations as it presents a unique vision of the great museum.

This book focuses on the literature of exoticism at the turn of the last century and how it foreshadows our own fin de siècle. Earlier writers of exoticism had turned away from the West and its modernity, rejecting the social changes caused by industrialization and displacing onto 'savage' or 'primitive' cultures their aspirations for political freedom. By the turn of the century, however, European nations had reduced vast areas of the globe to colonial status: this global exportation of Western cultural norms and economic systems had a critical effect on the literature of exoticism. In concentrating on writers from the age of the New Imperialism (1880-1920), this book reveals an important contradiction at the heart of the exoticist impulse: the very expansion that enabled European writers to go in search of exotic Others ensured the eventual disappearance of the exotic. Turn-of-the-century writers of exoticism thus give voice to a deep nostalgia both for the values supposedly lost to the West in its process of modernization and for those once exotic places in which they found, with increasing disappointment, not pristine innocence but merely the traces of their own culture. The author concentrates on four writers - Jules Verne, Pierre Loti, Victor Segalen, and Joseph Conrad - although he touches on a number of other writers, and even painters, like Paul Gauguin. The works of these four writers foreground attitudes and assumptions useful for understanding a wide array of phenomena: an examination of these works shows how nostalgia for a cultural Other was built into the intellectual configuration of modernism, throws light on the early history of anthropology, and helps us understand features of our own cultural formation that are becoming increasingly important in today's global village. Making an explicit link between turn-of-the-century exoticism and the present day, the book concludes with a critical assessment of Pier Paolo Pasolini's neo-exoticist attachment to a supposedly revolutionary Third World in his poetry and literary criticism. The book's critical stance is noteworthy, drawing its basic assumptions from pensiero debole, the 'weak thought' of the contemporary Italian philosopher Gianni Vattimo, whose poststructuralist theories are only now becoming known in the United States. 'Weak thought' seeks to supersede outmoded, metaphysical categories of thought, not by replacing them with something new, but by an elegaic, recollective, and rhetorical dwelling within those categories. The author also makes creative use of narrative theory, and draws on the recent 'new historicism', reading literary texts to excellent effect against the historical events that made them possible.

"Raser's approach is of necessity interdisciplinary: to show how Hugo defines the genre of art criticism, he must take into account the influences, recurrent themes, and references that are used by literary historians. Since, however, the texts discussed frequently refer to drawings, engravings, or paintings, the formal analyses of art history also come into play. Further, since the works described are invariably discussed in terms of their "beauty," aesthetics and beyond it, the twentieth-century critique of nineteenth-century aesthetics, are used."--Jacket.

"Blank Darkness: Africanist Discourse in French is a brilliant and altogether convincing analysis of the way in which Western writers, from Homer to the twentieth century have . . . imposed their language of desire on the least-known part of the world and have called it 'Africa.' There are excellent readings here of writers ranging from Baudelaire, Rimbaud, Sade, and Céline to Conrad and Yambo Ouologuem, but even more impressive and important than these individual readings is Mr. Miller's wide-ranging, incisive, and exact analysis of 'Africanist' discourse, what it has been and what it has meant in the literature of the Western world."—James Olney, Louisiana State University

This timely contribution to debates about the future of postcolonial theory explores the troubled relationship between politics and the discipline, both in the sense of the radical political changes associated with the anti-colonial struggle and the implication of literary writers in institutional discourses of power. Using Haiti as a key example, Chris Bongie explores issues of commemoration and commodification of the post/colonial by pairing early nineteenth-century Caribbean texts with contemporary works. An apt volume for an age that struggles with the reality of memories of anti-colonial resistance, Friends and Enemies is a provocative take on postcolonial scholarship.

NAMED A BEST BOOK OF 2020 BY THE NEW YORK TIMES, THE GUARDIAN, THE BROOKLYN RAIL, THE GLOBE AND MAIL, POP MATTERS, COMICS BEAT, AND PUBLISHERS WEEKLY From the “heir to R. Crumb and Art Spiegelman” (Economist), a masterful work of comics journalism about indigenous North America, resource extraction, and our debt to the natural world The Dene have lived in the vast Mackenzie River Valley since time immemorial, by their account. To the Dene, the land owns them, not the other way around, and it is central to their livelihood and very way of being. But the subarctic Canadian Northwest Territories are home to valuable resources, including oil, gas, and diamonds. With mining came jobs and investment, but also road-building, pipelines, and toxic waste, which scarred the landscape, and alcohol, drugs, and debt, which deformed a way of life. In Paying the Land, Joe Sacco travels the frozen North to reveal a people in conflict over the costs and benefits of development. The mining boom is only the latest assault on indigenous culture: Sacco recounts the shattering impact of a residential school system that aimed to “remove the Indian from the child”; the destructive process that drove the Dene from the bush into settlements and turned them into wage laborers; the government land claims stacked against the Dene Nation; and their uphill efforts to revive a wounded culture. Against a vast and gorgeous landscape that dwarfs all human scale, Paying the Land lends an ear to trappers and chiefs, activists and priests, to tell a sweeping story about money, dependency, loss, and culture—recounted in stunning visual detail by one of the greatest cartoonists alive.