Fox studies a mid-twentieth-century turn among Caribbean writers toward Tragedy as a way of thinking about revolution and independence, following Derek Walcott, Alejo Carpentier and Aimé Césaire as they enlist Henry Christophe (1767-1820) into a usable past. Where the inherited habit was to narrate the Haitian Revolution as Romance, these writers experimented with tragic form to imagine new philosophies of resistance.

The argument extends David Scott's reading of C.L.R. James's 1963 revision of The Black Jacobins, where James trades his epic register for meditation on Tragedy. Fox holds that the revolution's emplotment is tragic regardless, but that Tragedy works as analysis rather than surrender: it can lay bare the colonial subject's dilemma and prompt theories of radical action.

Archival work unsettles the received Christophe, whose reputation as a black tyrant became a racialist palimpsest serving neocolonial ends, though a tragic version surfaces as early as 1823. Walcott and Césaire, Fox argues, saw in him a visionary asserting black humanity.