Demonstrating how emotion became central to the legal and literary meanings of piracy in nineteenth-century America
Pirates have long occupied a central yet unstable place in American law and national identity. In the decades leading up to and including the U.S. Civil War, the charge of piracy was leveled against an unusually wide range of figures: foreign heads of state, imperial filibusters, transoceanic enslavers, enslaved mutineers, radical abolitionists, and others who challenged established forms of authority. Early American literature reflects this instability, portraying pirates who vary dramatically in politics, race, gender, and allegiance. As Mark B. Kelley shows, these characters are united less by ideology than by their challenge to landed social norms and fixed national belonging. The pirate, in both law and literature, emerges as an individual defined by multiplicity rather than political coherence. 
Crimes Against Feeling examines how Americans made sense of this ambiguous figure by turning to emotion. Drawing on legal materials including treaties, trial transcripts, congressional debates, and U.S. Supreme Court decisions, as well as popular sentimental fiction (often written by women), Kelley argues that piracy was codified as an offense against moral feeling rather than being a singular political position. Legal thinkers and writers such as John Quincy Adams, Abraham Lincoln, Jefferson Davis, Catharine Maria Sedgwick, Harriet Beecher Stowe, and Maria S. Cummins relied on shared affective frameworks—sympathy, sentiment, and domestic vulnerability—to render piracy legible and punishable. American pirate law, Kelley demonstrates, was shaped by the same emotional logics that structured the era’s popular fiction. 
By tracing piracy across debates over domestic sovereignty, global enslavement and abolition, imperial expansion, postbellum reparations, and international copyright, Crimes Against Feeling reveals the pirate as a key figure for understanding gender, home, family, and nation in early America. Reading law and literature together, the book shows how emotional judgment—not political consensus—became a foundational tool for managing oceanic violence and transnational disorder in the nineteenth-century United States.