The Washington Post
The biography is bookended by meditations on remembering and record-keeping. In the novels of Alexandre Dumas, the worst crime is to forget; Reiss details the criminal forgetting of Alex Dumas, which results in Reiss's having to hire a safecracker to access the general's private papers. Since a statue to Dumas was melted down by the Nazis, a new monument recently appeared in Paris: an enormous pair of slave shackles, which honor him as a symbol, not as a man. This remarkable book stands instead as his monument.
The New York Times Book Review
His story inspired the novel The Count of Monte Cristo, written by his son, Alexandre Dumas, who also drew upon his father's adventures in The Three Musketeers. Posterity remembers this son as Dumas père, to distinguish him from Alexandre Dumas fils, also a writer…But the general was the first of the three Alexandres…and in The Black Count, Tom Reiss…has recovered this fascinating story with a richly imaginative biography.
Alex Dumas, an extraordinary man whose sensational life had been largely lost to history solely because of his race, takes the spotlight in this dynamic tale. Thanks to Reiss’s excellent research, combined with the passionate memorial his son, Alexandre Dumas, consistently built in his own novels and memoir, Dumas’s life has been brought back to light. Father to the well-known novelist and clear inspiration for The Count of Monte Cristo, as well as the adventurous spirit of The Three Musketeers and other stories, Dumas (1762–1806) rose through the ranks of the French army from a lowly private in the dragoons to become a respected general who marched into Egypt at Napoleon’s side. (The rivalry and juxtaposition between these two leaders proves fascinating.) Born in what is now Haiti to a French nobleman father and a slave mother, the biracial Dumas chanced to come of age during the French Revolution, a brief period of equality in the French empire; he was thus granted numerous opportunities that the son of a slave 20 years before him (or even 20 years later) would not have enjoyed. Reiss capitalizes on his subject’s charged personality as well as the revolutionary times in which he lived to create an exciting narrative. Agent: Tina Bennett, Janklow & Nesbit. (Sept.)
From the Publisher
Winner of the 2013 Pulitzer Prize for Biography!
“Tom Reiss wrings plenty of drama and swashbuckling action out of Dumas’ strange and nearly forgotten life, and more: The Black Count is one of those quintessentially human stories of strength and courage that also sheds light on the flukey historical moment that made it possible.”
“A remarkable and almost compulsively researched account…The author spent a decade on the case, and it shows.”
—Christian Science Monitor
“Fascinating…a richly imaginative biography.”
—New York Times Book Review
"It would take an incredibly fertile mind to invent a character as compelling, exciting and unlikely as Gen. Alexandre (Alex) Dumas [hence] you might forget, while reading, that The Black Count is a work of nonfiction; author Tom Reiss writes with such narrative urgency and vivid description, you'd think you were reading a novel…The Black Count reminds us of how essential stories, whether true or invented, can be.”
—National Public Radio
“Vibrant…Sometimes the best stories are true. This is one of them.”
“Reiss details the criminal forgetting of Alex Dumas…This remarkable book stands as his monument.”
“Superb... as improbable and exciting as [Dumas’s] best books… but there is much more to this book than that.”
—Newsweek/The Daily Beast
“Lush prose and insightful details make The Black Count one of the best biographies of 2012…a tale that is as easily engrossing as one of Dumas’ page-turning and timeless works.”
“Impressively thorough…Reiss moves the story on at an entertaining pace…fascinating.”
—Wall Street Journal
“To tell this tale, Reiss must cover the French Revolution, the Haitian Revolution, and the rise of Napoleon toward Empire; he does all that with remarkable verve.”
“Fascinating [and] swashbuckling...meticulously evokes the spirit of Revolutionary and Napoleonic France...Dumas comes across as something of a superhero...a monument to the lives of both Dumas and his adoring [novelist] son.”
—The Seattle Times
“A piece of detective work by a prize-winning author...brilliantly researched.”
—The Daily Mail (U.K.)
“Sometimes real life does, indeed, trump even the wildest of fiction…With a narrative that is engaging and entertaining, Reiss sets the literary table for one of the most satisfying adventure stories of the autumn. Richly detailed, meticulously researched and beautifully written, this is the unlikely true story of the man behind one of the greatest books in literature.”
“Triumphant…Reiss directs a full-scale production that jangles with drawn sabers, trembles with dashing deeds and resonates with the love of a son for a remarkable father.”
—The Herald (U.K.)
“Fascinating….Reiss argues that Dumas is an important, criminally neglected figure [and] it’s difficult to argue with him…A truly amazing story.”
“A story that has everything…The Black Count has its own moving narrative thread, made compelling by Reiss’s impassioned absorption with the general’s fate.”
—The Literary Review
“A thoroughly researched, lively piece of nonfiction that will be savored by fans of Alexandre Dumas. But The Black Count needs no partner: It is fascinating enough to stand on its own.”
“A compelling new work by literary detective Reiss, author of The Orientalist, tracks the wildly improbable career of [Count of Monte Cristo author] Alexandre Dumas’ mixed-race father…Reiss eloquently argues the General’s case.”
“Alex Dumas, an extraordinary man whose sensational life had been largely lost to history solely because of his race, takes the spotlight in this dynamic tale…Reiss capitalizes on his subject’s charged personality as well as the revolutionary times in which he lived to create an exciting narrative.”
“Thrilling…Reiss makes clear that Alex lived a life as full of adventure, triumph, and tragic loss as any of his son’s literary creations…This absorbing biography should redeem its subject from obscurity.”
“From pike-wielding mobs to prisoners locked in a fortress tower, The Black Count is as action-packed as The Count of Monte Cristo. Unlike Dumas’s famous adventure novel, however, Reiss’s incredible tale is true.”
—Candice Millard, New York Times bestselling author of The River of Doubt and Destiny of the Republic
“Tom Reiss has literally drilled into locked safes to create this masterpiece…. His portrait of a man who was arguably our modern age’s greatest unknown soldier is remarkable.”
—James Bradley, New York Times bestselling author of Flags of Our Fathers and Flyboys
“A masterful biography, richly detailed, highly researched, and completely absorbing. The Black Count is a triumph.”
—Amanda Foreman, New York Times bestselling author of A World on Fire and Georgiana
“It’s hard to imagine a more colorful or engaging subject than the man who inspired The Count of Monte Cristo and The Three Musketeers. In the wonderful hands of Tom Reiss, Alex Dumas comes to vivid life, illuminating far-flung corners of history and culture. This is a terrific book.”
—Jon Meacham, Pulitzer Prize-winning author of American Lion and Franklin and Winston
“The Black Count is a dazzling achievement. I learned something new virtually on every page. No one who reads this magnificent biography will be able to read The Count of Monte Cristo or any history of slavery in the New World in the same way again.”
—Henry Louis Gates Jr., director of the W.E.B. Du Bois Institute, Harvard University
“Rousing and thought-provoking, The Black Count is an adventure like no other. I marveled at every twist and turn of this remarkable true story, brought to life with the charm and personal touch that has become the trademark of Tom Reiss.”
—Laurence Bergreen, New York Times bestselling author of Columbus and Over the Edge of the World
“A riveting, beautifully written and well-researched story of the seemingly impossible. It could never have happened in the United States, and with great skill, Reiss shows how the moment that produced Alex Dumas was lost with the rise of nineteenth-century racism.”
—Annette Gordon-Reed, winner of the Pulitzer Prize and National Book Award for
The Hemingses of Monticello
“In the early 1800s, General Alex Dumas was purposefully disappeared by his enemies, and for too long his story has remained silenced. The Black Count vividly vindicates the great general, restoring him to his rightful place at the center of the Age of Revolution. Carrying us from the plantations of the Caribbean to Paris, the Alps, and Egypt, Reiss tells an engrossing tale of a life of social struggle, adventure, and courage—and of the frustrations and joys of a researcher on the trail of a forgotten truth.”
—Laurent Dubois, author of Haiti: The Aftershocks of History
“A tale worthy of Dumas himself—of impossible odds, shrinking before the irresistible forces of daring, ingenuity and in-your-face talent.”
—Ted Widmer, author of Ark of the Liberties
“The real-life history of General Alex Dumas is as poignant and swashbuckling a tale as any his novelist son could have dreamed. Tom Reiss has the dramatist’s sense of setting and scene, the reporter’s persistence, and the historian’s eye for truth. Would that the imprisoned Count of Monte Cristo had a copy of this book!”
—Darrin M. McMahon, author of Enemies of the Enlightenment and Happiness: A History
“Tom Reiss can do it all: gather startling research and write inspired prose; find life’s great stories and then tell them with real brilliance. In The Black Count the master journalist-storyteller opens the door to the truth behind one of literature’s most exciting stories, and opens it wide enough to show the delicate beauty of the lives within.”
—Darin Strauss, National Book Critics Circle Award–winning author of Half a Life
“Tom Reiss tells this amazing story, largely unknown today, with verve, style, and a nonpareil command of detail.”
—Luc Sante, author of Low Life, Evidence, and The Factory of Facts
“The Black Count is a complex work of political and social history gallantly masquerading as a fantastic adventure story. As he did in The Orientalist, Tom Reiss has traveled far to stalk a forgotten legend, and has recovered for us a vivid, dramatic tale that delights, moves, and inspires.”
—Gideon Lewis-Kraus, author of A Sense of Direction
“The Black Count is totally thrilling—a fascinating, beautifully written, and deeply researched biography that brings to life one of history’s great forgotten characters: the swashbuckling, flamboyant, and romantic mulatto count whose true life belongs in a Hollywood movie or Alexandre Dumas story.”
—Simon Sebag Montefiore, author of Jerusalem: The Biography and Young Stalin
“Tom Reiss tells the incredible story of Alex Dumas with the same excitement about uncovering history that he brought to The Orientalist.”
—Nina Burleigh, New York Times bestselling author of Mirage: Napoleon’s Scientists and the Unveiling of Egypt
“We believe we know the glories of the French Revolution and the Napoleonic Wars. We believe we understand the horror of slavery and the oppression of Africans. But what is the relationship between the grand goal of liberation and the deep tragedy of racism? As Reiss shows us, answers can be found in the extraordinary life of a forgotten French hero of the great revolutionary campaigns—a hero who was black.”
—Timothy Snyder, author of Bloodlands and The Red Prince
“Reiss combines the talent of a thorough English detective with the literary flair of a French novelist to produce a story that is as fresh as today’s headlines but as old as the Greek classics.”
—Jack Weatherford, New York Times bestselling author of Genghis Khan and the Making of the Modern World
“Colorful and utterly captivating . . . This is history that is vibrant, gripping, and tragic.”
—William Dietrich, Pulitzer Prize–winning journalist and New York Times bestselling author of Napoleon’s Pyramids and The Emerald Storm
More Praise for Tom Reiss
"A wondrous tale, beautifully told… mesmerizing, poignant and almost incredible."
—The New York Times
“Spellbinding history… part detective yarn, part author biography, part travel saga… completely fascinating.”
—The Dallas Morning News
“Thrilling, novelistic and rich with the personal and political madness of early twentieth-century Europe.”
"An elaborate wonder-cabinet… as page–turningly compelling as any fiction."
—The Los Angeles Times
“Exhilarating… an endlessly inventive saga.”
—San Francisco Chronicle
“A brainy, nimble, remarkable book.”
Confronted with the surname Dumas, most readers are likely to think of Alexandre Dumas, author of such classics as The Count of Monte Cristo and The Three Musketeers. But in The Black Count, Reiss (The Orientalist) explores the life of the writer's father, a man of mixed racial and cultural heritage, born in Saint-Domingue to a slave mother (her last name was Dumas) and a French aristocrat. His father brought him to France, where, because of his tremendous courage and physical gifts, he rose through the ranks of the French military under Napoleon to become a general. He was taken prisoner of war when his ship returning to France from Cairo was captured near Sicily, and he died five years later, when his son was not yet four. Reiss seeks to demonstrate the great effect of the elder Dumas on his son's fiction, inspiring many of the characters and situations in those works. VERDICT While Reiss occasionally strays from the central narrative with an abundance of tangential detail regarding the French Revolution, this accessible read is recommended for fans of popular narrative nonfiction as well as for both casual and serious students of French history, and of the younger Dumas's work.—Ben Neal, Sullivan Cty. P.L., Bristol, TN.
A compelling new work by literary detective Reiss (The Orientalist: Solving the Mystery of a Strange and Dangerous Life, 2005) tracks the wildly improbable career of Alexandre Dumas' mixed-race father. Using records from Gen. Dumas' final residence and the military archives at the Chateau de Vincennes, the author provides a vivid sense of who Dumas was and how he attained such heights and fell so low after the French Revolution, being nearly forgotten by the time of his death in 1806. The simple answer seems to be racism. Born to an aristocratic French father and a slave mother in Saint-Domingue, Dumas became a general in the French Revolution and served under Napoleon, by turns lauded as a hero and vilified as a black insurgent. Taken prisoner on the way back from Egypt, his health was ruined after two years' imprisonment in Italy. His novelist son paid homage to his father's legendary stature, manliness, athletic prowess and bravery in his best-known protagonists--e.g., Edmond Dantès in The Count of Monte Cristo and the swashbuckling D'Artagnon in The Three Musketeers. The general's own father pawned the boy and took him to Paris to make a gentleman of him. Enlisting as a private in the Queen's Dragoons at age 24, he changed his name to Dumas, his slave mother's maiden name. Thanks to the republican spirit of the period and to his own dazzling exploits, he was handily promoted, yet as swiftly demoted by Napoleon, who later passed harsh racial laws. He was never provided the military pension allowed him, and his widow and children sank into hardship; Dumas the novelist was excoriated 40 years later for his black ancestry. Reiss eloquently argues the general's case. A rarefied, intimate literary study delineating a roiling revolutionary era.
Read an Excerpt
the sugar factory
Alexandre Antoine Davy de la Pailleterie—father of the future Alex Dumas—was born on February 26, 1714, in the Norman province of Caux, a region of rolling dairy farms that hung above great chalk cliffs on the northwest coast of France. A scrawled scrap of paper from the time states that he was baptized “without ceremony, at home, because of the peril of death,” suggesting he was too sickly to risk bringing in to the local church. He was the firstborn son of an old family that possessed a castle, a scarcity of cash, and an abundance of conniving members, though Antoine would one day outdo them all.
The boy survived, but the following year his sovereign, King Louis XIV, the Sun King, died after seventy-two years on the throne. As he lay dying, the old king counseled his heir, his five-year-old great-grandson: “I loved war too much, do not imitate me in this, nor in my excessive spending habits.” The five-year-old presumably nodded earnestly. His reign, as Louis XV, would be marked by a cycle of spending and wars so extravagantly wasteful and unproductive that they would bring shame not only on his person but on the institution of the French monarchy itself.
But the profligate, war-driven habits of its kings could not hold France back. In fact the “Great Nation” was about to unleash the age of the philosophes, the Enlightenment, and all that would follow from it. Frenchmen were about to shake the world into the modern age. Before they could do that, they would need money. Big money.
Big money was not to be found in Normandy, and certainly not around the Pailleterie château. The family’s coat of arms—three golden eagles holding a golden ring on an azure background—looked impressive but meant little. The Davy de la Pailleteries were provincial aristocrats from a region more abounding in old glories than in current accounts. Their fortune was not enough to sustain grandeur without work—or not for more than one generation.
Still, a title was a title, and as the oldest son, Antoine would eventually claim the title of “marquis” and the ancestral estate of Bielleville that went with it. Next in succession after Antoine were his two younger brothers—Charles Anne Edouard (Charles), born in 1716, and Louis François Thérèse (Louis), born in 1718.
Faced with their limited prospects in Normandy, all three Pailleterie brothers sought their fortunes in the army, which then accepted nobles as young as twelve into its commissioned ranks. Antoine received a commission in the Corps Royal de l’Artillerie, an up-and-coming branch of the service, as a second lieutenant at sixteen. His brothers soon followed him as teenage junior officers. The Pailleterie brothers were kept busy by His Majesty’s plunge, in 1734, into the War of the Polish Succession, one of a series of dynastic conflicts that regularly provided excuses for the gory quaintness of eighteenth-century European combat. The big-power rivals behind this little war were the traditional competitors for European land domination, the Bourbons and the Hapsburgs, France and Austria. (England would soon play a bigger role, especially on the high seas and in the New World, but that was still one or two wars in the future.)
In addition to his commission in the artillery, Antoine served at the front as gentleman in the entourage of the Prince de Conti, the king’s dashing, fabulously rich cousin. Antoine saw his main action at the Siege of Philipsburg, in 1734—later written into the military annals by Karl von Clausewitz, in On War, as the “perfect example of how not to site a fortress. Its location was that of an idiot standing with his nose against the wall.” Voltaire was also there, fleeing a royal arrest warrant, and working as a kind of one-man eighteenth-century USO show during the siege, offering bons mots and brandy between bouts of battle and composing odes to the military men.
The most notable event in Antoine’s service at Philipsburg, however, was that he served as a witness to a duel that took place on the night of the Prince de Conti’s birthday party at the front: it was between the Prince de Lixen and the Duke de Richelieu. The duke took offense when the prince mocked the Richelieu pedigree. The duke’s grandfather had been Cardinal Richelieu (later immortalized as the mustache-twirling nemesis of the Three Musketeers), an adviser to Louis XIII who had managed royal financial and building projects to great advantage—both for himself and for France. But such accomplishments did not measure up to the high standards of snobbery practiced by Lixen, who regarded the Richelieu clan as parvenus. To make matters worse, the duke had recently offended the prince by marrying one of his cousins.
At midnight, the illustrious in-laws met in the field of honor between the dining tents and the trenches. They began lunging at one another there in the dark, their lackeys lighting the swordfight with flickering lanterns. The prince took the advantage first, wounding Richelieu in the thigh. The lackeys switched from lanterns to bare torches, and the combatants chased each other in and out of the trenches, their blades reflecting fire. The prince stabbed the duke in the shoulder. At this point an enemy barrage lit the field of honor. One of the lackeys was hit and killed.
Richelieu counterattacked, and with Antoine watching, the duke sank his blade into the chest of his unfortunate in-law. Contemporaries considered it a sort of poetic justice, since Lixen himself had recently dispatched one of his own relations, his wife’s uncle, the Marquis de Ligneville, for a similarly trifling offense. Such were the friendly-fire deaths of the eighteenth-century battlefield.
In 1738, when the war ended, Antoine took the chance to get out of the army and Europe altogether. While he was stationed at Philipsburg, his younger brother Charles had joined a colonial regiment that went to the French sugar colony of Saint-Domingue, on the West Indian island of Hispaniola. This was a fortunate posting.
Sugar planting was the oil business of the eighteenth century, and Saint-Domingue was the Ancien Régime’s Wild West frontier, where sons of impoverished noble families could strike it rich. Barely sixteen when he arrived in the colony as a soldier, by twenty-two Charles Davy de la Pailleterie had met and wooed a young woman, Marie-Anne Tuffé, whose family owned a sizable sugar plantation on the colony’s wealthy northeast coast. Antoine decided to join him.
Today, the world is so awash in sugar—it is such a staple of the modern diet, associated with all that is cheap and unhealthy—that it’s hard to believe things were once exactly the opposite. The West Indies were colonized in a world where sugar was seen as a scarce, luxurious, and profoundly health-giving substance.
Eighteenth-century doctors prescribed sugar pills for nearly everything: heart problems, headache, consumption, labor pains, insanity, old age, and blindness. Hence, the French expression “like an apothecary without sugar” meant someone in an utterly hopeless situation. Saint-Domingue was the world’s biggest pharmaceutical factory, producing the Enlightenment wonder drug.
Columbus brought sugarcane to Hispaniola, the first European settlement in the New World, on his second voyage, in 1493. The Spanish and the Portuguese had been the first to cultivate sugar in Europe, and when they began their age of discovery, among the first places they “discovered” were islands off the coast of North Africa just perfect for sugar cultivation. As the Iberian explorers made their way down the African coast—the Portuguese going around the Horn to East Asia, the Spaniards cutting west to the Americas—both powers had two main goals in mind: finding precious metals and planting sugarcane. (Oh, and spreading the word of God.)
The Spanish established a colony on the eastern side of Hispaniola and named it Santo Domingo; eventually, the colony would extend over the eastern two-thirds of the island, roughly corresponding to the modern-day Dominican Republic. (The native inhabitants called the entire island by another name: Hayti.) The Spanish brought artisans from the Canary Islands, off the coast of West Africa, to build the elaborate on-site technology needed for sugar production—presses, boilers, mills—and then brought the most essential ingredient of all: African slaves.
Slavery, of course, had existed since antiquity. The Greek city-states had created democracy among a small elite by enslaving almost everybody else, in some cases up to a third of the population. Aristotle believed democracy could exist only because of slavery, which gave citizens the leisure for higher pursuits. (Modern versions of this argument held that American democracy was born of the slave society of rural Virginia, because slavery gave men like Washington and Jefferson the free time to better themselves and to participate in representative government.) In Greece and Rome, slavery was the fate of prisoners of war and barbarians, anyone not lucky enough to have been born Greek or Roman. When ancient slaves managed to buy their freedom or that of their children, they would assimilate into the free population, with no permanent mark on their descendants. Though ubiquitous in the ancient world, slavery was not based on any sense of “race.”
There was an ethnic connotation in the etymology of the word “slave,” which first appeared in the eighth century AD: the word was a corruption of “Slav,” since at the time nearly all slaves imported into Europe were ethnic Slavs. The Slavs were late converts to Christianity, and their pagan status made them vulnerable. “Slav markets” were established across Europe, from Dublin to Marseilles, where the people being bought and sold were as fair-skinned as those buying and selling them.
The rise of Islam led to a vast expansion of slavery, as conquering Arab armies pulled any and every group of “unbelievers” into bondage. Arab slave traders captured whites from the north via sea raids on European shipping, and blacks from the south via land raids or barter with the sub-Saharan kingdoms. Justified by religious faith, the Muslim slave trade was a huge trans-national business. Over time it focused more and more on black Africans. Yet there was still no fixed biological marker for bondage.
The European sugar trade changed this forever. As thousands of blacks were bought and sold out of Africa to harvest sugar, for the first time in history a biologically marked group of human beings came to be considered destined for slavery, created by the white landowners’ God for a life of permanent chattel servitude.
The Portuguese had first taken blacks to Madeira to cut sugarcane because the island was off the coast of North Africa and the Muslim traders there happened to deal in African slaves. When they sailed down the Guinea Coast, the Portuguese found the black African kingdoms were willing to supply them with slaves directly: the Africans did not consider they were selling their racial brothers to the whites. They did not think in racial terms at all but only of different tribes and kingdoms. Before, they had sold their captives to other black Africans or to Arabs. Now they sold them to whites. (The African kingdoms and empires themselves kept millions of slaves.) As time went on, Africans would learn of the horrors awaiting black slaves in the American colonies, not to mention on the passage over, yet they continued to export ever greater quantities of bois d’ébène—“ebony wood,” as the French called their cargo. There was no mercy or morality involved. It was strictly business.
Spain laid the foundations of this great wealth and evil in the Americas, then quickly became distracted and forgot about it. After introducing the plants, the technology, and the slaves into Santo Domingo, the Spanish dropped the sugar business in favor of hunting for gold and silver. They moved on to Mexico and South America in search of the precious metals, leaving the island to languish for nearly two centuries, until the French began to harness its true potential.
By the mid-to-late eighteenth century, the Saint-Domingue colony, situated on the western end of Hispaniola, where Haiti is today, accounted for two-thirds of France’s overseas trade. It was the world’s largest sugar exporter and produced more of the valuable white powder than all the British West Indian colonies combined. Thousands of ships sailed in and out of Port-au-Prince and Cap Français, bound for Nantes, Bordeaux, and New York. When the British, after winning the Seven Years’ War, chose to keep the great swath of France’s North American colonies and instead return its two small sugar islands, Guadeloupe and Martinique, they unwittingly did their archrival a favor.
Saint-Domingue was the most valuable colony in the world. And its staggering wealth was supported by staggering brutality. The “pearl of the West Indies” was a vast infernal factory where slaves regularly worked from sunup to past sundown in conditions rivaling the concentration camps and gulags of the twentieth century. One-third of all French slaves died after only a few years on the plantation. Violence and terror maintained order. The punishment for working too slowly or stealing a piece of sugar or sip of rum, not to mention for trying to escape, was limited only by the overseer’s imagination. Gothic sadism became commonplace in the atmosphere of tropical mechanization: overseers interrupted whippings to pour burning wax—or boiling sugar or hot ashes and salt—onto the arms and shoulders and heads of recalcitrant workers. The cheapness of slave life brushed against the exorbitant value of the crop they produced. Even as the armies of slaves were underfed and dying from hunger, some were forced to wear bizarre tin-plate masks, in hundred-degree heat, to keep them from gaining the slightest nourishment from chewing the cane.
The sugar planter counted on an average of ten to fifteen years’ work from a slave before he was driven to death, to be replaced by another fresh off the boat. Along with malnutrition, bugs and diseases could also eventually do in someone working up to eighteen hours a day. The brutality of the American Cotton Kingdom a century later could not compare to that of Saint-Domingue in the 1700s. There would be no shortage of cruel overseers in the United States, but North American slavery was not based on a business model of systematically working slaves to death in order to replace them with newly bought captives. The French sugar plantations were a charnel house.
Because Versailles loved laws and orders, France was the first country to codify colonial slavery. In doing so, King Louis XIV passed a law, in 1685, that changed the history of both slavery and race relations.
Le Code Noir—the Black Code. Its very name left no doubt about who were to be the slaves. It elaborated, point by point, the many ways in which black Africans could be exploited by their white masters. The Code sanctioned the harshest punishments—the penalty for theft or attempted escape was death—and stated that slaves could not marry without their master’s consent or pass on property to their kin.
But the very existence of a written legal code—a novelty of the French colonial empire—opened the way for unexpected developments. If there were laws governing slavery, then slave owners, at least in some instances, could be found in violation of them. By articulating the rules of white domination, the Code, theoretically, at least, limited it, and gave blacks various opportunities to escape from it. It created loopholes. One of these was on the issue of sexual relations between masters and slaves, and the offspring resulting from such relations.