An examination of Maroon cultural, festive and political practices, their victorious militarized Black masculinity and their wider transimperial significance as figures of resistance or reconciliation, as images of the the red-coated Maroon circulated across imperial networks

Langston Hughes has earned iconic status in the history of African American letters. However, Hughes should also be understood as a radical political thinker and writer who sought to promote international anti-imperialism, Pan-Africanism, and a hemispheric understanding of Black diasporic history and culture. This chapter considers Langston Hughes’s writings on the Haitian Revolution – the play Emperor of Haiti (1936) and the opera libretto Troubled Island (1949) – as well as the presence of Haiti in Hughes’s poetry and journalism. These writings demonstrate that Haiti served as a pivot point in Hughes’s thinking, with Haitian history supplying Hughes with a heroic counter-narrative of Black freedom. Casting fresh light on the cultural currency of Haiti’s history of anticolonialism within radical African American circles, the chapter argues that Hughes’s Haitian writings carry a powerful message of an unfinished revolution, renegotiate diasporic relationships to Haiti, and proudly celebrate Black historical achievement in the Americas.