This chapter reflects on Sean O’Casey’s work from a postcolonial critical perspective. The focus is firstly upon his early Abbey plays, especially The Plough and the Stars, which are shown to be significant for postcolonial criticism because of their content, the contexts of their initial Abbey productions, and the ways that key aspects of their critical history play outsized roles in framing understandings of the postcolonial critical endeavour. The chapter shows how O’Casey responded to the political complexities of Ireland’s revolutionary era of the 1910s and 1920s. The chapter then examines O’Casey’s later plays, showing how his responses to the revolutionary era evolved as he dealt directly with postcolonial Ireland and the fascism of the 1930s–1960s.

Chapter 4 examines the obstacles enslaved women faced in escaping bondage in post-Revolutionary America. The case of Elizabeth Freeman, an enslaved Black woman in Massachusetts who sued for her freedom, captures the tenacity of Black women, who not only resisted with their feet, but also used the courts to gain their freedom. By highlighting the case of Ona Judge, the fugitive slave of George and Martha Washington, this chapter brings to the fore successful escapes in which enslaved women overcame formidable obstacles to freedom. During the post-Revolutionary period, Bett and other enslaved women developed several strategies for overcoming obstacles to freedom. As daughters, mothers, and wives, they contested oppression and invented solutions that defied their status as enslaved women.