Barracoon: The Story of the Last "Black Cargo"

In Chapter 5, Kossola speaks at length about the king of Dahomey and King Akia’on of Takkoi, their actions, their priorities, and their values. Compare and contrast the two kings. From Kossola’s perspective, who is the antagonist, and who does he cast as a tragic hero?

Why do you think the book is titled Barracoon? Explain what you think the title emphasizes about Kossola’s story and what assumptions the reader might make based on the title.

Hurston’s approach to transcription prioritizes the sound of Kossola’s speech. How might Barracoon have been different if Hurston chose to standardize the written language? What effect would this have had?

Although Kossola has been free from slavery for many years when he meets Hurston, his financial situation leaves him unable to return home to Africa. How does Barracoon define and characterize freedom?

Because Barracoon was published posthumously, neither Hurston nor Kossola were alive to oversee the creation of the final product. What responsibilities might the contemporary editor, Plant, have felt to Hurston and Kossola? What challenges might she have faced in editing the work? How might that task have been different from editing the work of a living author?

Describe the effect of Hurston’s framing narrative on the structural and narrative organization of Barracoon. Do you think her framing narrative augments or takes away from the text in any way? Why?

Barracoon includes paratextual material including but not limited to an epigraph, a foreword, two introductions, a dedication, a preface, a glossary, an afterword, and a list of Africa Town founders. To what would you attribute the choice, or need, to include such an ample body of paratext?

Kossola frequently quotes songs he recalls from his life in Africa that were sung communally at various important moments (like funerals, war, and celebrations). How do the songs contribute to—and impact—his story?