The Defense of Phillis WheatleyAs the first African- American woman to publish in the colonies, Phillis and her poetry has been glorified and reviled. one hand, she was an exemplar of the intellectual capabilities of enslaved Africans, the foremother of the African- American literary tradition and received her manumission after her publication of Poems on Various Subjects, Religious and Moral (1773). the other hand, she has also been critiqued for being a poor imitator of Alexander Pope and his contemporaries, for not reflecting the black experience, and for writing in a neoclassical or style. Intervening in this contentious conversation and gesturing toward new plateaus, John C. Shields crafts a fascinating portrait of a literary tiailblazer. In Phillis Wheatley's of Liberation: Backgrounds and Contexts (Tennessee, 2008), Shields passionately defends Wheatley's legacy and argues that her use of neoclassicism, biblical themes, and techniques such as the heroic couplet are reflections of Wheatley's artistic and spiritual freedom. Through the course of six chapters, Shields incorporates eighteenth-century primary sources such as Thomas Jefferson's Nofes on the State of Virginia (1787) and bears witness from the perspective of a scholar twhose interest in Phillis began as a doctoral candidate at the University of Tennessee and has sustained the entirety of his academic career. Thus, in Phillis Wheatley's of archival research, the evolution of Studies, and an examination of reception history culminate in Wheatley's lyrics giving voice to the diurnal concerns of disenfranchised colonists and for enslaved Africans.From the beginning, Shields's introduction describes the social, cultural, and intellectual biases that haunted the reception and readings of Wheatley's poetry. However, instead of focusing upon the authentication of her authorship and validation of the poet's youthful gifts by white men such as John Erving, he begins with the commentary of Jefferson. As well as being a founding father of the United States of America and the nation's third president, he was also a slave owner. Subsequently, he was invested in proclaiming that the black race was incapable of producing a writer of verse and in undermining Wheatley's achievements. From Shields's vantage point, Jefferson is an antecedent of other misinformed and misguided perceptions of and her work. Ironically, Jefferson's refusal to acknowledge her as an artist also becomes a compelling narrative thread in of Liberation. Thus, an insult is transformed into an indictment of the racial, gender, and class prejudices which contributed to years of devaluing Wheatley's literary contributions.Consequently, in chapter 1, Poetics of Liberation, Shields demonstrates Wheatley's ability to attain freedom through the written word. With her devotion to Christian values, mastery of neoclassicism, and artistic representation of hybrid cultural experiences in Africa, America, and Britain, she transcends the limitations of her social position. Furthermore, with the theoretical framework of Mortimer Adler's The Idea of Freedom, Shields explains the creative and moral beliefs that undergirded the young poet's autonomy.1 Explicating a stanza of On Imagination (1773), he argues that creativity bestows upon selfdetermination and authority to control her own art. Also, with Wheatley's epistle to her friend and mentor Samson Occom, Shields shows the poet's strains of freedom consisted of expressing a desire for liberation for all of humanity. Simultaneously, the critical eye of Shields and primary sources from the mind, heart, and hand of convey her poetical and political consciousness.In the second chapter, entitled Wheatley Considered Intellectually Impoverished: The First 190 Years, Shields provides a selective history of commentary about and her verse. …