Henry Box Brown not only mailed himself in a box from Richmond in Philadelphia in 1849, but he also remediated this experience of embodiment later in competing slave narratives, on stage, in a panorama, and through his role as a magician and mesmerist. In these four “acts,” Brown uses the representation of his experiences of Black embodiment across various media both to support and—simultaneously—to undercut the mind-centered ontology that structured the system of chattel slavery’s reduction of Blackness to mindless matter. Rather than imagine ontological drift, as Bird does, or ontological betweenness, like Forrest, Brown uses different representations of Black embodiment to imagine existence as always already ontologically doubled, as something governed by the mind-centered paradigm that demeans the body, and by the body-centered paradigm that makes the material body’s expressive agency crucial for the fullest articulation of humanity. Brown suggests that consciousness emerges simultaneously from the mind and the body, and that by carefully curating these overlapping, and doubled, forms of consciousness, Black subjects can “mind the body” in order to imagine alternatives to white culture’s dehumanizing of Blackness.

African American culture is best understood as an ongoing community conversation about success that produces homemade citizenship. Because black success so often inspires violence, the community conversation constantly defines and redefines achievement. To pursue success, African Americans debate not only the strategies for attaining it but also its very contours and parameters. That is, they debate how one will even know if one has achieved. As they engage in this process, African Americans create a citizenship that is homemade. Denied basic ingredients like safety by the land of their birth, they cultivate a sense of belonging and achievement that does not depend on civic inclusion; it is a belonging with recourse beyond the nation-state. To recognize homemade citizenship, scholars, teachers, and general readers must look through the lens of achievement rather than resistance. This approach proves especially illuminating when applied to works, such as slave narratives, that readers presume exist to protest injustice. Using the Narrative of Henry Box Brown as a case study, this essay demonstrates the power of reading with an eye toward accomplishment. Brown’s narrative proves animated by a commitment to defining, redefining, and pursuing success while knowing victories inspire violence.

This chapter reveals the profound impact that the 1850 Fugitive Slave Act had on the slave narrative by comparing narratives from the same author published before and after the passage of the act. Consulting pre- and post-1850 narratives by Henry Box Brown, William Grimes, and Josiah Henson, this chapter illuminates key ways in which the Fugitive Slave Act shaped one of the premier genres of African American literature.