If the submission contains material for which an author does not hold the copyright, authors warrant that they have obtained the unrestricted permission of the copyright owner to grant Indiana University the rights required by this license, and that such third-party owned material is clearly identified and acknowledged within the text or content of their submission. Authors warrant that their submission is their own original work, and that they have the right to grant the rights contained in this license. Authors also warrant that their submission does not, to the best of your knowledge, infringe upon anyone's copyright.Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License (see: ) that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this journal.By vividly recounting enslaved life through the experiences of individual women and illuminating their conditions of confinement through the legal, sexual, and representational power wielded by slave owners, colonial authorities, and the archive, Fuentes challenges the way we write histories of vulnerable and often invisible subjects.Authors who publish with this journal agree to the following terms: Combining fragmentary sources with interdisciplinary methodologies that include black feminist theory and critical studies of history and slavery, Dispossessed Lives demonstrates how the construction of the archive marked enslaved women’s bodies, in life and in death. In the process, Fuentes interrogates the archive and its historical production to expose the ongoing effects of white colonial power that constrain what can be known about these women. Fuentes takes us through the streets of Bridgetown with an enslaved runaway inside a brothel run by a freed woman of color in the midst of a white urban household in sexual chaos to the gallows where enslaved people were executed and within violent scenes of enslaved women’s punishments. Fuentes creates a portrait of urban Caribbean slavery in this colonial town from the perspective of these women whose stories appear only briefly in historical records. In the eighteenth century, Bridgetown, Barbados, was heavily populated by both enslaved and free women.

Fuentes dispossessed lives