The past few decades have seen numerous powerful creative revisions of Emily Brontë's Victorian Gothic novel Wuthering Heights (2003 [1847]) that racialise Heathcliff as black. This phenomenon, which began with Peter Forster's (1991) compelling and provocative wood engravings of Wuthering Heights for the Folio Society, was followed by Guadeloupean author Maryse Condé's La migration des coeurs (Windward Heights, 1995), Andrea Arnold's cinematic version of Wuthering Heights (2011), Caryl Phillips’ The Lost Child (2015) and Michael Stewart's Ill Will (2018). These innovative reconceptions of Brontë's novel were borne, in large part, of the cultural and academic turn in the late twentieth century to postcolonial literature and theory. In tandem with the brilliant foundational philosophy and scholarship of the négritude and Pan-African movements, which included the writings of Aimé Césaire and Frantz Fanon and the theoretical work of critics such as Edward Said and Homi K. Bhabha that followed, postcolonial writers engaged in cultural resistance to established colonial/imperial narratives and ideologies. They took up, in particular, questions about nation and narration, subjectivity and Othering, voice, slavery, sovereignty, history, modernity and the relationship between culture and empire. That in dialoguing with British classics by developing narratives out of their textual gaps and silences they frequently employed Gothic tropes, themes and narrative dynamics makes artistic sense given that genre's efficacy for interrogating and undermining smug Enlightenment-based certainties. British imperialism, including the institutions at its heart, especially the triangular trade for which slavery served as the linchpin, was grounded in such certainties. While initially promoted and justified on rational and even Christian grounds, these imperial institutions, guilty of criminal brutalities and abuses of power, are frequently, and with specific intention, exposed in postcolonial works as quintessentially Gothic enterprises. Following from the popular Gothic dynamic relating to genealogical history, namely, that the sins of the fathers will be visited upon the sons, these systems and the worldviews that sustain them often prove impossible to exorcise or expunge—an idea in alignment with the postcolonial conception of empire.