The Empire has done some terrible things, but the slave trade may be amongst it's worst contributions to the world. Oroonoko traces the story of an African Prince taken into slavery and sold. The novel (if that's what you want to call it; it may be better to think of it as a novella) plays with structure and form. It seems to be an early example of a "frame" novel. The narration is strong, and there are vivid and wonderful descriptions of Africa. Location and scene is developed nicely. There are unusual elements where the novel shifts from 1st to 3rd, but this doesn't hinder the reader. The novel seems to want to suggest the evils or perils of slavery, and using the primary character as a price, does seem to really want to focus the readership of the novel to British elites. The novel makes you think about slavery and it makes you see slaves as people, not just as objects for trade and labor.
"No feature of the novel seems to be more obvious and yet easily ignored than its fictionality." - Gallagher, "Rise of Fictionality", pg. 336. First, a obvious observation, regarding the term "fictionality": Gallagher's paper does the term a great injustice, because at no point is the term clearly and concisely defined. In many ways, it feels like we're reading abstractions without any need for abstraction. Gallagher's article/chapter (not sure which) doesn't necessarily or fundamentally (in my humble opinion) offer a truly sound argument as to the "discovery" of "fictionality". There are several arguments that are made, including one particularly troubling to me: writers turned to "fictionality" in order to avoid prosecution (My concern about this statement relies fundamentally on the fact that very clear and obvious fictions existed to the world far before any author ever turned to this sort of thought. ...
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