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At the turn of the twentieth century, Cadbury Bros. Ltd. was a successful, Quaker-owned chocolate manufacturer in Birmingham, England, celebrated for its model village, modern factory, and concern for employees. In 1901 the firm learned that its cocoa beans, purchased from Portuguese plantations on the island of São Tomé off West Africa, were produced by slave labor.

Chocolate on Trial: Cadbury, Slavery and the Economics of Virtue in Imperial Britain gives a lively and highly readable account of the events surrounding the libel trial in which Cadbury Bros. Ltd. sued the London Standard, following the newspaper's accusation that the firm was hypocritical in its use of slave-grown cocoa. As compelling now as at the turn of the previous century, the issues probed by Lowell J. Satre give invaluable historical background to contemporary issues of business ethics, corporate social responsibility, and globalization. The story Satre tells illuminates what a stubbornly persistent institution slavery was and shows how Cadbury, a company with a well-regarded brand name and logo, endured ethical dilemmas and challenges to its record for social responsibility. Chocolate on Trial brings to life the age-old conflict between economic interests and the value of human life.

Satre illuminates the stubborn persistence of the institution of slavery and shows how Cadbury, a company with a well-regarded brand name from the nineteenth century, faced ethical dilemmas and challenges to its record for social responsibility. Chocolate on Trial brings to life the age-old conflict between economic interests and regard for the dignity of human life.

In Illegible Will Hershini Bhana Young engages with the archive of South African and black diasporic performance to examine the absence of black women's will from that archive. Young argues for that will's illegibility, given the paucity of materials outlining the agency of black historical subjects. Drawing on court documents, novels, photographs, historical records, websites, and descriptions of music and dance, Young shows how black will can be conjured through critical imaginings done in concert with historical research. She critically imagines the will of familiar subjects such as Sarah Baartman and that of obscure figures such as the eighteenth-century slave Tryntjie of Madagascar, who was executed in 1713 for attempting to poison her mistress. She also investigates the presence of will in contemporary expressive culture, such as the Miss Landmine Angola beauty pageant, placing it in the long genealogy of the freak show. In these capacious case studies Young situates South African performance within African diasporic circuits of meaning throughout Africa, North America, and South Asia, demonstrating how performative engagement with archival absence can locate that which was never recorded.