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Such stories now seem like apolitical fantasies to contemporary readers. This is the question at the centre of Tate's examination of the novels of Pauline Hopkins, Emma Kelley, Amelia Johnson, Katherine Tillman, and Frances Harper. Domestic Allegories of Political Desire is more than a literary study; it is also a social and intellectual history--a cultural critique of a period that historian Rayford W. Logan called \"the Dark Ages of recent American history.\" Against a rich contextual framework, extending from abolitionist protest to the Black Aesthetic, Tate argues that the idealized marriage plot in these novels does not merely depict the heroine's happiness and economic prosperity. More importantly, that plot encodes a resonant cultural narrative--a domestic allegory--about the political ambitions of an emancipated people. 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Such stories now seem like apolitical fantasies to contemporary readers. In this study, Tate explores this apparent paradox through an examination of the novels of Pauline Hopkins, Emma Kelley, Amelia Johnson, Katherine Tillman, and Frances Harper. Domestic Allegories of Political Desire is more than a literary study; it is also a social and intellectual history - a cultural critique of a period that historian Rayford W. Logan called the Dark Ages of recent American history. Against a rich contextual framework, extending from abolitionist protest to the Black Aesthetic, Tate argues that the idealized marriage plot in these novels does not merely depict the heroine's happiness and economic prosperity. Instead, that plot encodes a resonant cultural narrative - a domestic allegory - about the political ambitions of an emancipated people. 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