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the names of some of the poets in this book may be unfamiliar to many readers. I am happy to introduce them here, but I am not happy to reintroduce the names of the two poets who frame this book, names that may be all too familiar to my readers. The name of the poet known for the last two and a half centuries as “Phillis Wheatley” poses a notorious problem: “The Phillis” was the name of the ship that compelled her through the Middle Passage, and “Wheatley” is the name of the family who thought they could buy her in 1761. How can we continue to use such a name? I am persuaded by recent attempts to rename Phillis Wheatley “Phillis Wheatley Peters,” since at least “Peters” is the name of the Black man the poet chose to marry rather than the name of her White enslavers. Yet literary history has referred to her as “Phillis Wheatley,” and since this book is about literary history, I have retained that name here. I recognize this as a bad choice. The name dictated by patriarchy is better than the name dictated by slavery, but adding patriarchy to slavery does not solve the problem.
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