Joan Anim-Addo draws on her own text Imoinda (2001) to present the voices of slave women articulating the trauma of Atlantic slavery. Having rewritten Aphra Behn’s Oroonoko (1668) so as to centrally position Imoinda, the silenced woman and partner of Oroonoko, Anim-Addo problematizes the authorizing of voices in relation to “shared knowledge,” in Glissant’s terms, specifically of slave women’s lived resistance to the denial of rights to humanity and voice. She juxtaposes “the gift of voice” (JAA 2007) exemplified in discourses allowing rare voicing of slave women, such as Grace Jones and Mary Prince, against the relative freedom that twentieth-century authorizing allows the descendants of slave women in addressing questions of authorial freedom and cultural production that represent the enslaved woman.