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Where the Negroes Are Masters: An African Port in the Era of the Slave Trade

emphasis on the capitalist, commercial drive underpinning the spread of popular imperialism in Europe (p. 296). The comparative Franco-British perspective is another especially illustrative dimension of this study. Throughout, our attention is repeatedly drawn to the different contexts in Britain and France, including the alternating publishing markets (Chapter 2) and political climates (Chapter 4). Yet, at the same time, Sèbe highlights commonalities between British and French uses of imperial heroes, emphasising the shared religious and intellectual values instilled in imperial heroes (p. 213), and suggesting ‘a convergence of purpose’ (p. 13) amounting to ‘a sort of ‘cross-Channel entente’ in spite of Franco-British competition’ (p. 213). As such, this work is an important contribution to our knowledge of the intricacies of Anglo-French interaction and cross-cultural dissemination in the age of imperialism and beyond. The broad temporal perspective and the multiplicity of different imperial heroes analysed make this study both richly detailed and highly pertinent to an array of different scholarly questions and fields. Thus, it should be recommended to students and scholars not only of imperial history, but also of Franco-British relations, French studies, cultural history and the history of popular culture.