An Analysis of the Blackness of Oroonoko In her essay “The Blackness of Oroonoko,” Katherine Gallagher argues that there are three layers to “Oroonoko.” These layers are the kingship of Oroonoko, the relationship between Oroonoko's blackness and black ink, and the commodification of Oroonoko. Gallagher argues that Oroonoko's darkness illuminates not only the text itself, but also the author's presence. She writes that “…the dazzling darkness of the eponymous hero corresponds to the heightened presence of the narrator.” (DeMaria, BL Critical Reader, 88). Therefore, Oroonoko and Behn come into the light because of the black print and jet black skin of Behn's hero. In his essay, Gallagher makes many assumptions about the audience reading his text. It assumes that the reader has read and studied “The Unhappy Bride”; knows biographical information about Aphra Behn; has knowledge of literary techniques; and knows how the slave trade worked in Africa. Despite these many assumptions made by Gallagher, his argument regarding the contrast of dark and light in the text is applicable to the text. His essay is well argued and easily applies to the text of “Oroonoko”. Gallagher first assumes that the reader has read Behn's other short stories, namely "The Unhappy Bride." Throughout her essay, Katherine Gallagher continually references this story. For example, she states that the color of Mooria's skin represents her "dark designs". She then contrasts the notion of darkness in this story with the notion of darkness in “Oroonoko”. Gallagher writes that the depiction of blackness in "The Unfortunate Bride" is the opposite of the image given in "Oroonoko". By reading these stories, the reader is able to discover in the middle of the paper this Great Man, worthy of a better Destiny, and of a Spirit more sublime than mine to write his Praise; yet I hope that the reputation of my pen is considerable enough that its glorious name will survive to all ages...." (BL Anthology, 461). Because it is part of the text and the text is illuminated by the "heavenly light" of Oroonoko." Behn's presence is also highlighted in the text. The success of Gallagher's essay depends on the conditions Behn met in his work. Whatever the many assumptions Katherine Gallagher makes in her work, these assumptions do not exhaust the value of her words. Because Behn's story is extremely elaborate, Gallagher successfully argues that Oroonoko as well as Behn's presence itself is illuminated by the darkness of the print and by Oroonoko's skin of "perfect ebony." Works Cited Anthology of British Literature edited by Robert Demaria