
Suriname Wildlife, as depicted by Maria Sibylla Merian, the German artist and naturalist in the eighteenth century.
Stedman’s colorful memoir was a bestseller of 1796, under the ponderous title Narrative of a Five Years’ Expedition against the Revolted Negroes of Surinam, in Guiana, on the Wild Coast of South America, from the year 1772 to 1777. The book was partly a picaresque adventure tale, told on the ribald model of Henry Fielding’s Tom Jones. It was also an indictment of slavery, though the author was hardly an abolitionist. And, oddly, it was a celebration of South American wildlife.
The mix of elements could be jarring. Along with an account of how a planter’s jealous wife had slit a slave girl’s throat, stabbed her repeatedly in the breast, and tossed her into a river with hands bound behind, Stedman also offered his readers loving descriptions of spider monkeys, flying squirrels, cockatoos, and coatimundis. One illustration, by Stedman’s friend, the poet and artist William Blake, depicted a slave hung from the gallows, still living, by a hook jammed under his ribs, and the next showed
“The Toucan and the Fly-catcher.” After “Flagellation of a Female Samboe Slave,” the reader could contemplate “The Spur winged Water hen” and “the Red Curlew.”
Taking delight in the natural world was a way of coping that suited Stedman’s “incurable romanticism,” according to the historians Richard and Sally Price. His descriptions of the natural world were vivid enough that they may have served as a source for Blake’s famous verse “Tyger! Tyger! Burning bright/In the forests of the night …” (Stedman wrote of a “Tiger-cat,” or jaguar, “its Eyes Emitting flashes of lightning.”)










