Womens participation in the public sphere was constrained in various ways, even in liberal circles. Anne Thompson (wife of George Thompson), in conjunction with her teenage daughters and African American freedom seekers, engineered an intervention at the Great Exhibition that creatively silenced anti-abolitionists within a social space. After Louisa and Amelia Thompson married and pursued activist and writing careers, they built on such experiences in ways that represent their astute perception of performative dramatugy and ways to strategically intervene in social politics. In Amelia Chessons work life and marriage, this led to a career as the first female performance critic for a British daily newspaper. She honed her ability to describe not only theatre and music performances but also the entire mise-en-scène of complex events. Extensively networked through her own and her familys activist connections, her work as a journalist, political organiser, friend of fellow abolitionists, and matrixed liberal subject reveals a complex reformulation of how the public and private realms have been previously understood.

Watch Night began when enslaved and free African Americans kept vigil, to sing and pray, on December 31, 1862, as they awaited news in the morning of the Emancipation Proclamation. Their optimism gave way to the nominal freedoms and rights of citizenship that African American families and communities experienced in the wake of emancipation and during Reconstruction. African American writers of these decades introduce descriptions of African landscapes, customs, values, and histories as metaphors for the uncertain status and tentative futures their people confronted after the Civil War and during Reconstruction. They associate the African continent with a variety of meanings: the brutal history of slavery; the erasure or dismissal of influential cultures and intellects; a persistent legacy of resistance to oppression and rebellion against bondage; the fugitive status of African Americans in their own country and as exiles abroad; and the precarity of racial progress even as Black schools, churches, and other self-sufficient institutions are established by formerly enslaved Black southern communities.

Chapter six explores adaptive resistance in Britain during the American Civil War. Black activists exploited this resistance strategy amongst a climate of growing scientific racism and pro-Confederate sympathy, two factors that were inseparable. Throughout the conflict, Black abolitionists used their testimony to revoke charges of Black inferiority and demanded Britons follow a policy of non-fellowship with slaveholders. Despite abolitionist networks which had dwindled at the start of the war, activists such as William Craft, Sella Martin and William Andrew Jackson lectured on both an abolitionist and non-abolitionist stage with a greater sense of urgency, convinced that the conflict’s outcome would mean either the consolidation or the removal of slavery. Craft and Martin in particular used dissonant language to target scientific racists such as Dr. James Hunt, who lectured and published work on Black inferiority. Hunt avidly supported the South and his friendship with Confederate propagandist Henry Hotze represented the synonymy of a cause that promoted slavery and racism, and as much as possible, Black activists used dissonant language to challenge such theories.