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Abstract: The lineage of the zombie myth is complex, reaching far beyond Haiti and Haitian folklore. To expand the zombie's literary history and further complicate our understanding of its cultural heritage, this paper will read four Romantic texts through Sarah Juliet Lauro's framework of the "protozombie": Maria Edgeworth's "The Grateful Negro" (1804), "Song of an Obeah Priestess" (Anonymous, 1821), Cynric R. William's Hamel, the Obeah Man (1827), and William Earle's Obi; or, The History of Three-Fingered Jack (1800). Although these texts do not depict a Haitian zombie-drone, their depictions of Obeah complicate the boundaries between life and death, raising questions about rebellion, subversion, and freedom in response to the transatlantic slave trade. Reading these texts through the lens of the protozombie expands our understanding of the cultural and historical forces that shaped the zombie, moving the conversation beyond Vodou to consider Obeah's connection to the zombie myth.
Lauren Crockett-Girard (Sat,) studied this question.
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