This chapter covers the story of three enslaved people who used various poisons to slowly murder their owner in colonial Massachusetts.

The introduction presents an overview of the book’s argument and the theoretical framework that guides the project. It also lays out the contributions the book will make to the historical literature of slave resistance. The argument is that enslaved women resisted slavery with lethal force and when they did so, their own ideas about injustice were a central motivation. A new Black feminist theory is introduced and outlined: the Black feminist practice of justice. The core tenets of this philosophy includes the women prioritizing their perspective and how they defined justice, understanding the stark lack of justice in the judicial system, Black women’s rationality and prior planning, proportionality, a concept of “just deserts,” and their resignation to accept their fates for exercising lethal force.

This chapter examines the case of a teenaged term slave named Cloe who used her hands to strangle her owners’ young daughters a week apart in rural early nineteenth-century Pennsylvania.

This chapter examines the curious case of a group of enslaved people who used a featherbed to smother their owner to death in colonial North Carolina.

The extended mourning for Agamemnon in the kommos scene of the Choephoroi dramatizes relationships to the dead not found previously in the trilogy. Unlike in the Agamemnon, in the kommos, death is neither an end point nor a peaceful rest. Instead, the mourners repeatedly alternate contradictory conceptualizations of Agamemnon’s existence and power in the beyond: They insist on his outraged, avenging spirit; paradoxically, they also refer to his honored place among kings in the underworld. At some points, they call on him to send his power from below; at others, they beg him to rise from the dead. None of the characters seems to know which of these possible afterlives, if any, are true. The “poetics of multiplicity” evident in the kommos affects the emotional, epistemic, and ethical aspects of the scene. The Chorus’s contrafactual image of Agamemnon as glorious king in the afterlife, jammed against their insistence on his dishonored death and burial, compels Orestes to begin the second coup d’état. It is potentially the first instance in extant Greek literature in which a fictional depiction of the afterlife motivates extreme political action.