Abstract
In the creation of King Leopold’s Soliloquy, a textured, visually irrefutable, and darkly satirical account of crimes against humanity in the Belgian Congo Free State, Mark Twain aimed to evoke his Euro-American audience’s empathy by activating their imaginations and inaugurating political reform. Informed by the work of cultural and literary critics such as Roland Barthes, this paper considers how the visual imagery in Twain’s text engender questions about fact, testimony, and witnessing in the realm of human rights and collective violence—both in the Congo Free State and, indirectly, in the United States. I ultimately argue that the relation (or dissonance) of visual imagery to written text in this relatively unknown and understudied work by Twain yields vital implications for scholars of genocide.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
