Colson Whitehead’s The Underground Railroad isn’t the modern slave narrative it first appears to be. It is something grander and more piercing, a dazzling antebellum anti-myth in which the fugitive’s search for freedom—now so marketable and familiar—becomes a kind of Trojan horse. Crouched within it are the never-ending nightmares of slavery’s aftermath: the bloody disappointments, usually sidelined by film and fiction, that took place between the Civil War and civil rights. In Whitehead’s hands the runaway’s all-American story—grit, struggle, reward—becomes instead a grim Voltairean odyssey, a subterranean journey through the uncharted epochs of unfreedom.