In this chapter, through a reading of Louisiana-born author Victor Séjour's representation of the Haitian Revolution in ‘Le Mulâtre’ or ‘The Mulatto,’ originally composed in French and first published in Paris in 1837, I consider the conflation of the literary history of the tragic “mulatto/a” with the literary history of the Haitian Revolution in one of the first short stories written by an American author of African descent. Séjour's role in the development of the important and controversial figure of the tragic “mulatto/a” is crucial because, as David O'Connell has observed, ‘“The Mulatto” was Séjour's personal contribution to the French and U.S. American antislavery movements’ and was thus ‘not simply … a blow struck for the cause of abolition in the French colonies, but … also one of the first manifestations of a “literature of combat” written by an American black’ (O'Connell, 1972, 61). Yet, even more importantly, with this story, Séjour—a man whose father was born in Saint-Domingue, but who lived the majority of his own life in metropolitan France—once again links the U.S. African American literary tradition to a Francophone origin and ultimately to the literary history of the Haitian Revolution. The contribution of ‘Le Mulâtre’ to the same transatlantic print culture of the Haitian Revolution that had posthumously claimed Phillis Wheatley as its poet laureate thus suggests that a Franco-Haitian grammar of resistance to slavery continued to be one of the most abiding ways that the Atlantic hemisphere's people of color turned references to the Revolution into a trans-historical language for the political aspirations and frustrations of their own days.