“Laura Doyle’s project in <i>Freedom’s Empire</i> is nothing short of upending the ways in which we have grown accustomed to reading, writing, and talking about the development of the English-language novel. It is an ambitious project, to say the least, and yet one in which Doyle is entirely successful. This is one of the most exciting literary studies’ interventions I have encountered in a long time, and my guess is that it will further alter the way in which we think about the seemingly discrete categories of the British and American novel. . . . This is a remarkable book, one that I would encourage any scholar of the novel in English to make space for on his or her bookshelf.” - Sarah Gleeson-White, <i>Rocky Mountain Review</i>

“<i>Freedom’s Empire</i> is a bold, exciting book. Laura Doyle shows how the call to move past the framing terms of nation and historical period will result in different readings not only of novels but also of the issues with which they engage. She demonstrates how challenging the structures of literary criticism can lead to a new transatlantic cultural history.”—<b>Priscilla Wald</b>, author of <i>Contagious: Cultures, Carriers, and the Outbreak Narrative</i>

“<i>Freedom’s Empire</i> is a truly excellent work of scholarship, an important contribution to the study of the English-language novel, and a significant addition to the critical examination of the deep and varying entanglements of the discourses of race and modernity. It vitally enriches the growing field of Atlantic literary studies and will, I suspect, become one of the keystone texts of that field.”—<b>Ian Baucom</b>, author of <i>Specters of the Atlantic: Finance Capital, Slavery, and the Philosophy of History</i>

“Laura Doyle’s study provides a powerful and persuasive historical ‘Atlantic world’ recontextualization of the dialectical relation of African American and Anglo-American narrative traditions. This imaginative reframing complicates and deepens our understanding of the ‘Black Atlantic’ and energizes her readings of black authors, including Pauline Hopkins, Nella Larsen, and others.”—<b>Kevin K. Gaines</b>, author of <i>American Africans in Ghana: Black Expatriates and the Civil Rights Era</i>

“<i>Freedom’s Empire</i> offers a unique perspective on Atlantic modernity. . . . Doyle shows that challenging the prevailing structures of literary criticism is imperative to a more nuanced understanding of what in an earlier collection Doyle termed ‘geomodernisms’. . . . Doyle’s study succeeds in its argument. . . . Impressively written and wide in scope, <i>Freedom’s Empire</i> shows persuasively how ‘novels and histories became partners in the project of narrativizing racial liberty.’”

- Marisa Huerta, African American Review

“<i>Freedom's Empire</i> is the most ambitious study of the novel and empire since Edward Said's <i>Culture and Imperialism</i>. . . . <i>Freedom's Empire</i> is a provocative history of the simultaneous articulation of race, freedom and empire in English-language literary and political practice.”

- Corey Capers, Journal of Colonialism & Colonial History

“[I]nvigorate[s] the Atlantic as a category of literary and cultural study in the West. In an effort to reconceptualize the abstract idea of freedom in the Atlantic world, Doyle demonstrates something fundamental to modern liberty—that at its foundation, it is a race myth. . . . <i>Freedom’s Empire </i>generates crucial questions and insights that substantively complicate the intellectual invention of Atlantic modernity and its literary history.”

- Christopher C. Freeburg, American Literature

“Laura Doyle’s project in <i>Freedom’s Empire</i> is nothing short of upending the ways in which we have grown accustomed to reading, writing, and talking about the development of the English-language novel. It is an ambitious project, to say the least, and yet one in which Doyle is entirely successful. This is one of the most exciting literary studies’ interventions I have encountered in a long time, and my guess is that it will further alter the way in which we think about the seemingly discrete categories of the British and American novel. . . . This is a remarkable book, one that I would encourage any scholar of the novel in English to make space for on his or her bookshelf.”

- Sarah Gleeson-White, Rocky Mountain Review