places with him in prison, allowing him to escape dressed as a woman. She is eventually sold to a French man who takes her to Europe. After his death, she encounters George by chance, and they marry. George Green – Slave in the service of Horatio Green; becomes Mary's lover. After escaping prison with her help, he flees to the free states, evading recapture in Ohio with the help of a Quaker. He reaches Canada and migrates to Great Britain. Ten years after arriving in England, he travels to Dunkirk, France, where he re-encounters Mary, and they marry. Horatio Green – He is the first to buy Clotel after Jefferson's death, and takes her as a concubine. He is Mary's biological father. He sells Clotel and enslaves Mary after marrying a white woman. Georgiana Peck – Daughter of Reverend Peck. Reverend Peck – Father of Georgiana Peck. He buys Currer, assigning her to kitchen and household affairs. William – An enslaved mechanic who is hired out to work alongside Clotel in Vicksburg. While paying his master from his earnings, he saved $150 in secret. He and Clotel use this to support their bold escape. Critical reception The novel has been extensively studied in the late 20th and early 21st century. Kirkpatrick writes that Clotel demonstrates the "pervasive, recurring victimization of black women under slavery. Even individuals of mixed-race status who attempt to pass as white nevertheless suffer horrifically." It exposes "the insidious intersection of economic gain and political ambition—represented by founding fathers such as Jefferson and Horatio Green." It is a "scathing, sarcastic, comprehensive critique of slavery in the American South, race prejudice in the American North, and religious hypocrisy in the American nation as a whole." The novel and the title "walk a precarious line between oral history, written history, and artistic license." Mitchell said that Brown emphasized romantic conventions, dramatic incident and a political view in his novel. Recent scholars have also analyzed Clotel for its representations of gender and race. Sherrard-Johnson notes that Brown portrayed both the "tragic central characters " and the "heroic figures" as mulattoes with Angloid features, similar to his own appearance. She thinks he uses the cases of "nearly white" slaves to gain sympathy for his characters. She notes that he borrowed elements from the abolitionist Lydia Maria Child's plot in her short story, "The Quadroons" (1842). He also incorporated notable elements of