Joan Anim-Addo’s Imoinda narrates a woman slave’s right to live at a historical moment when she is deprived of the right to be. Emerging from the ruins and margins of modernity, Imoinda un-writes its narratives by unconcealing the story of colonization and systematic exploitation of slaves from the perspective of a black woman’s body. Imoinda does not simply respond to the history framed by Aphra Behn’s Oroonoko. In fact, it un-writes it by asking the question of history and by writing the history of the present—the age of neocolonial albeit global mobility of migrants, exiles, and refugees—throughout the haunting of the past—the age of colonization and imperialism. Imoinda’s spectre is the body of that colonial past and this postcolonial and postnational present that claims the right to a community-yet-to-come, the right to live, even when, especially when it is impossible.