An eye-opening look at how incarcerated people, health professionals, and others behind and beyond bars came together to problem-solve incarceration.
 
Raising the Living Dead is a history of Puerto Rico’s carceral rehabilitation system that brings to life the interactions of incarcerated people, their wider social networks, and health care professionals. Alberto Ortiz Díaz describes the ways that multiple communities of care came together both inside and outside of prisons to imagine and enact solution-oriented cultures of rehabilitation from the 1930s to the 1960s. Scientific and humanistic approaches to well-being were deliberately fused to raise the “living dead,” an expression that reemerged in the modern Caribbean to refer to prisoners. These reform groups sought to raise incarcerated people physically, mentally, socially, spiritually, and civically.
 
The book is based on deep, original archival research into the Oso Blanco (White Bear) penitentiary in Puerto Rico, yet it situates its study within Puerto Rico’s broader carceral archipelago and other Caribbean prisons. The agents of this history include not only physical health professionals, but also psychologists and psychiatrists, social workers, spiritual and religious practitioners, and, of course, the prisoners and their families. By following all these groups and emphasizing the interpersonal exercise of power, Ortiz Díaz tells a story that goes beyond debates about structural and social control.
 
The book addresses key issues in the history of prisons and the histories of medicine and belief, including how prisoners’ different racial, class, and cultural identities shaped their incarceration and how professionals living in a colonial society dealt with the challenge of rehabilitating prisoners for citizenship.
 
Raising the Living Dead is not just about convicts, their immediate interlocutors, and their contexts, however, but about how together these open a window into the history of social uplift projects within the (neo)colonial societies of the Caribbean. There is no book like this in Caribbean historiography; few examine these themes in the larger literature on the history of prisons.

Winner of the Merle Curti Award
Winner of the James A. Rawley Prize
Winner of the Louis Gottschalk Prize
Longlisted for the Cundill Prize

“Vincent Brown makes the dead talk. With his deep learning and powerful historical imagination, he calls upon the departed to explain the living. The Reaper’s Garden stretches the historical canvas and forces readers to think afresh. It is a major contribution to the history of Atlantic slavery.”—Ira Berlin

From the author of Tacky’s Revolt, a landmark study of life and death in colonial Jamaica at the zenith of the British slave empire.

What did people make of death in the world of Atlantic slavery? In The Reaper’s Garden, Vincent Brown asks this question about Jamaica, the staggeringly profitable hub of the British Empire in America—and a human catastrophe. Popularly known as the grave of the Europeans, it was just as deadly for Africans and their descendants. Yet among the survivors, the dead remained both a vital presence and a social force.

In this compelling and evocative story of a world in flux, Brown shows that death was as generative as it was destructive. From the eighteenth-century zenith of British colonial slavery to its demise in the 1830s, the Grim Reaper cultivated essential aspects of social life in Jamaica—belonging and status, dreams for the future, and commemorations of the past. Surveying a haunted landscape, Brown unfolds the letters of anxious colonists; listens in on wakes, eulogies, and solemn incantations; peers into crypts and coffins, and finds the very spirit of human struggle in slavery. Masters and enslaved, fortune seekers and spiritual healers, rebels and rulers, all summoned the dead to further their desires and ambitions. In this turbulent transatlantic world, Brown argues, “mortuary politics” played a consequential role in determining the course of history.

Insightful and powerfully affecting, The Reaper’s Garden promises to enrich our understanding of the ways that death shaped political life in the world of Atlantic slavery and beyond.

Rebecca's Revival is the remarkable story of a Caribbean woman--a slave turned evangelist--who helped inspire the rise of black Christianity in the Atlantic world. All but unknown today, Rebecca Protten left an enduring influence on African-American religion and society. Born in 1718, Protten had a childhood conversion experience, gained her freedom from bondage, and joined a group of German proselytizers from the Moravian Church. She embarked on an itinerant mission, preaching to hundreds of the enslaved Africans of St. Thomas, a Danish sugar colony in the West Indies. Laboring in obscurity and weathering persecution from hostile planters, Protten and other black preachers created the earliest African Protestant congregation in the Americas.

Protten's eventful life--the recruiting of converts, an interracial marriage, a trial on charges of blasphemy and inciting of slaves, travels to Germany and West Africa--placed her on the cusp of an emerging international Afro-Atlantic evangelicalism. Her career provides a unique lens on this prophetic movement that would soon sweep through the slave quarters of the Caribbean and North America, radically transforming African-American culture.

Jon Sensbach has pieced together this forgotten life of a black visionary from German, Danish, and Dutch records, including letters in Protten's own hand, to create an astounding tale of one woman's freedom amidst the slave trade. Protten's life, with its evangelical efforts on three continents, reveals the dynamic relations of the Atlantic world and affords great insight into the ways black Christianity developed in the New World.

Based on long-term ethnographic fieldwork at the Caribbean Court of Justice, A Region among States explores the possibility of constituting a region on a geopolitical and ideological terrain dominated by the nation-state.

How is it that a great swath of the independent, English-speaking Caribbean continues to accept the judicial oversight of their former colonizer via the British institution of the Privy Council? And what possibilities might the Caribbean Court of Justice—a judicial institution responsive to the region, not to any single nation—offer for untangling sovereignty and regionhood, law and modernity, and postcolonial Caribbean identity?
 
Joining the Court as an intern, Lee Cabatingan studied its work up close: she attended each court hearing and numerous staff meetings, served on committees, assisted with the organization of conferences, and helped prepare speeches and presentations for the judges. She now offers insight into not only how the Court positions itself vis-à-vis the Caribbean region and the world but also whether the Court—and, perhaps, the region itself as an overarching construct—might ever achieve a real measure of popular success. In their quest for an accepting, eager constituency, the Court is undertaking a project of extrajudicial region building that borrows from the toolbox of the nation-state. In each chapter, Cabatingan takes us into an analytical dimension familiar from studies of nation and state building—myth, territory, people, language, and brand—to help us understand not only the Court and its ambitions but also the regionalist project, beset as it is with false starts and disappointments, as a potential alternative to the sovereign state.

Through the lens of a hitherto unstudied repertoire of Dutch abolitionist theatre productions, Repertoires of Slavery prises open the conflicting ideological functions of antislavery discourse within and outside the walls of the theatre and examines the ways in which abolitionist protesters wielded the strife-ridden question of slavery to negotiate the meanings of human rights, subjecthood, and subjection. The book explores how dramatic visions of antislavery provided a site for (re)mediating a white metropolitan—and at times a specifically Dutch—identity. It offers insight into the late-eighteenth- and early-nineteenth-century theatrical modes, tropes, and scenarios of racialised subjection and considers them as materials of the “Dutch cultural archive,” or the Dutch “reservoir” of sentiments, knowledge, fantasies, and beliefs about race and slavery that have shaped the dominant sense of the Dutch self up to the present day.