Frantz Fanon was an enthusiastic reader of Sartre's Critique of Dialectical Reason and in this essay I focus on what can be gleaned from The Wretched of the Earth about how he read it. I argue that the reputation among Sartre's critics of the Critique as a failure on the grounds that it was left incomplete should take into account its presence in Fanon's The Wretched of the Earth . Their shared perspectives on the systemic character (...) of racism and colonialism, on the genesis and fragility of groups, and on parties indicates the vitality of the ideas set out in the Critique . However, these similarities between the two thinkers are offset by their differences on national consciousness and on the rural masses. I end by speculating about a certain defence on Sartre's part toward Fanon's concrete experience. (shrink)

In the course of his groundbreaking work, The Wretched of the Earth, Frantz Fanon has employed a splendid array of metaphors to reflect on the essential fabric of a colonized society. However, the Manichean metaphor is the best of them, which he has used to forge a comparison between colonialism and Manichaeism, a dualistic religious movement founded in ancient Persia sometime during the third century CE. This metaphor is singular in the sense that both colonialism and Manichaeism have (...) in common a dichotomic vision to look at the world, a stupendous effort to exert their influences on the better part of the world and a messianic zeal to preach their enlightenment values at every opportunity. In this article, I am going to elucidate the way Fanon has made use of the metaphor to designate the identity formation of both the colonizer and the colonized in addition to critically analysing their similitude in vision, will and enthusiasm. In so doing, I will bring into play the recent accretions of Manichean religious and postcolonial studies in order to situate Frantz Fanon’s The Wretched of the Earth in the framework of post-colonial praxis. Philosophy and Progress, Vol#71-72; No#1-2; Jan-Dec 2022 P 153-177. (shrink)

This article questions the place of the child in the metaphysics and imaginary of Western colonization, racialization, and decolonization. In the last chapter of The Wretched of the Earth by Frantz Fanon, children appear not only as victims but also as a problem for which Fanon struggles to account as a theorist of decolonization as much as a psychiatric practitioner. Through a reading of one of the cases, this article interrogates the ways in which colonization attempts to infantilize (...) colonized populations while erasing childhood, and the ways in which decolonization meets colonization by regarding childhood in the end as a misfortune. The work of decolonization, to proceed, thus would demand us to rethink childhood, and in doing so break free of Western metaphysics. (shrink)

The Routledge Guidebook to Fanon’s The Wretched of the Earth offers an accessible, step-by step guide to Fanon’s original text, providing a clear and engaging account account of the theoretical and historical background that lead to its writing_. _It unites all elements of the work to produce a precise explanation of this important book, which presents the historicak impact of its publication, traces its ongoing influence and explains the interest it continues to elicit today.

This previously-unpublished essay by the late Charles W. Mills (1951–2021) seeks to demonstrate the racially-structured character of the universe created by J. R. R. Tolkien in The Hobbit and The Lord of the Rings. Written long before the popular film series, the essay critically examines Tolkien's novels and comments on the nature of fictional creation. Mills argues that Tolkien designs a racial hierarchy in the novels that recapitulates the central racist myth of European thought.

Though it is well known that Frantz Fanon was influenced by Jean-Paul Sartre, and that Sartre was a supporter of Fanon, little attention has been paid to the conflict that existed between their respective views on the violence they lived through and wrote about. In "Paris under the Occupation", Sartre tries to explain to the reader what it felt like to live under the rule of an enemy whose omnipresence forced the aggression and hostility of the French back against themselves, (...) leaving them both defeated and ashamed. Yet in "The Wretched of The Earth", to prove to the world that the suffering of the Algerians was so great as to not only create their murderous rage but to justify its use, Fanon makes an example of the occupation to show that it was nothing compared to colonialism. By exploring this tension between these accounts, this paper will study Sartre's existential analyses of occupation and Fanon's psychiatric diagnoses of colonization so that we can see where these accounts actually intersect. This will allow us to better understand what violence can do to anyone forced to live under its rule. (shrink)

An introduction to the posthumously published "The Wretched of Middle-Earth: an Orkish Manifesto" by Charles Mills.

O artigo analisa os argumentos de Sartre em torno da violência e do reconhecimento de novos sujeitos na política e a sua crítica ao formalismo dos discursos humanistas a partir do “Prefácio” que ele escreveu para Os condenados da terra, de Frantz Fanon. Para isso, o texto se divide em três partes. A primeira, mais histórica, apresenta o trabalho de Sartre como prefaciador e trata das condições que cercam a redação do “Prefácio” para Fanon; a segunda aborda o problema do (...) reconhecimento de outras vozes no contexto político; a última retoma a crítica sartriana às incoerências do humanismo ocidental. A violência atravessa todos os argumentos ao ocupar um papel capital nos trabalhos de Fanon e nas preocupações de Sartre, particularmente entre as décadas de 1950 e 1960. (shrink)

For humans, Westworld is a fun, Old West Disneyland; for theartificial humans, it is a “living hell”, as robot Android Bernard describes it in “Bicameral Mind”. Ruled by a despot and controlled through programmed indoctrination, omniscient surveillance, and secret police, Westworld resembles a concentration camp as described by philosopher Hannah Arendt in The Origins of Totalitarianism. This chapter explores the parallels between Westworld and historical instances of totalitarian oppression and colonialization as well as the justified use of violence as a (...) revolutionary weapon, drawing on the work of Hannah Arendt and Frantz Fanon. Fanon viewed colonialism and occupation as violence personified and systematic enslavement. His most influential work The Wretched of the Earth analyzed the effects of occupation and provided a handbook to combat those effects. This book achieves significance as an essay on the nature and morality of violent liberation from the perspective of the persecuted victim. (shrink)

Commentary on essays in Forum: Frantz Fanon's Wretched of the Earth, Fifty Years Later.

What better way to celebrate, commemorate, critically reflect on, and think through Fanon’s The Wretched of the Earth fifty years after its publication with a new North African syndrome: Revolution—or at least a series of revolts that continue to rock regimes across North Africa and the region. Fanon begins The Wretched writing of decolonization as a program of complete disorder, an overturning of order—often against the odds— willed from the bottom up. Without time or space for a (...) transition, there is instead an absolute replacement of one “species” of humanity by another. In periods of revolution, like the one we are experiencing today, such absolutes appear quite normal. Indeed, radical change becomes the “new normal” and the idea that revolutionary change is impossible is simply the rantings and ravings of the conservatives and reactionaries of the ancient regime. Too long buried under the weight of the tomes of academic discourse, Fanon has been resuscitated by the new dawn of North African revolutions. To celebrate Fanon, the revolutionary, all of a sudden seems contemporary and pertinent, while the musings of the critics who consigned him to postcolonial oblivion seem out of touch. But rather than continuing the painstaking work of exhuming Fanon from the postcolonial burial site, let us turn a commemoration of Fanon into an event. Indeed, why assume that a commemoration of Fanon after fifty years is not critical? Moreover why begin a contemporary engagement with Fanon assuming a priori the limits of his thought? Indeed, where to begin is a philosophic question. It is a question of “intention” as Edward Said puts it in one of his most radical and Vicoian works. Beginnings are revolutionary, implying return and repetition and, following Said, “a sort of historical dialectic that changes its character and meaning.” Vico, Said argues “said that the word human comes from root to bury ” suggesting that “his humanistic philosophy” contained “elements of its own negation.&rdquo. (shrink)

The half-century, which is the time that has elapsed since the publication of Wretched of the Earth , seems such a short period when one imagines its author in all his intellectual magnificence, his anguish, and the many details we all know of his short-lived reality. Dare one say, after the concept has long been declared “dead” that we imagine him as having been a live “author”? As I write this, the idea of various notable intellectuals and revolutionary (...) movements could come to mind in order for them to serve as interesting comparisons as we discuss and remember Fanon, his analyses of the colonial aftermath, and his many predictions, both explicit and implicit. However, the “death” of the author is, in fact, as Barthes’ polemical essay showed, a premise that empowers the text in its full potentiality well beyond the deism by which the identity of the author becomes the authority. Here, the liberation of the text joins up the enunciation with its “content” so to speak, or in Barthes’ words, reveals how Fanon “made of his very life a work for which his book was a model.” It is from this idea that I wish to see Fanon as incomparable. The reason to do so does not stem from some esoteric form of admiration, but rather a conviction that Fanon’s narration itself is both indicative and exemplary of a process of thinking that, for me, remains unparalleled in theorizing the role of the intellectual. Such a conviction requires us to read beyond the content of Wretched and be “reborn” in the Barthesian sense as readers. In essence, it is to simply follow the way Fanon himself allows us to actually trace how he dreams of “the native” or “the people” and thus accomplishes an affective leap, arguably, more completely than any other intellectual. This reading is, thus, an invitation to dream – even momentarily – of Fanon. (shrink)

This article approaches Judith Butler as herself a theorist of race and racism by exploring her unacknowledged and often problematic reading of Frantz Fanon and his concept of the historico-racial schema. It first traces Butler's uses of Fanon's thinking across her work, outlining the different ways that she draws on Fanon in theorizing race and racism. The article then shows how that theorizing stems from Butler's reading of the historico-racial schema, focusing on her insertion of words that do not appear (...) in either the translation she cites or in the original French text into a key quotation. This article argues that this systematic misreading of the historico-racial schema in Black Skin, White Masks problematically restricts Butler's understanding of the lasting effects and ethical consequences of racism and colonialism as they appear in her readings of that text and of The Wretched of the Earth. (shrink)

In remembering Vuyani Vellem, this paper delves into his scholarship, a scholarship that admittedly exudes his activism in academia, church and society. Choosing intentionally the marginalised as the primary interlocutors in discourse, Vellem demonstrates that he is situated in the arena of those who are otherwise seen as the wretched of the earth, insisting that Black Theology of Liberation must engage in a praxis that centres the lived experiences of black people and creates for itself legacies that would (...) attest to Black Theology of Liberation as a formidable hermeneutic that recognises the sanctity of black life in a context of the prevalence of white supremacy. It notes however that a history of colonisation and subjugation has wrecked the humanity of black people, and as a result, a contract with black people becomes essential on this path towards the total emancipation of black people in South Africa and the world.Contribution: The scholarly contribution of this article is its focus on the systematic and practical reflection, within a paradigm in which the intersection of religious studies, social sciences and humanities generate an interdisciplinary contested discourse. (shrink)

“The apocalypse of hope” and other comparable flourishes in the writings of Frantz Fanon and Jean-Paul Sartre on political violence strike an alarming tone. In The Wretched of the Earth, Fanon advocates the way of revolutionary violence as the inevitable consequence of colonialism and its systematic exploitation of colonized natives. In his role of agent provocateur, Sartre’s preface to Fanon’s influential and controversial work characteristically dramatizes this redemptive promise of violence: “to gun down a European is to kill (...) two birds with one stone…there remains a dead man and a free man.” This notorious pronouncement constitutes itself as an act of violence—we must feel threatened—meant to incite the latent counter-violence behind, in Sartre’s diagnosis, the false consciousness of bourgeois toleration and understanding. Could Sartre’s bold statement be spoken today without violent condemnation? This statement claims that, against the dehumanization of colonial oppression, only revolutionary violence allows for the colonized natives to constitute a “people” and recreate themselves in the image of a new humanity forged from the experience of liberation. For Fanon in particular, the recreation of humanity is impossible without the birth of a national consciousness and a revolutionary culture. As Fanon writes, “[w]e believe that the conscious, organized struggle undertaken by a colonized people in order to restore national sovereignty constitutes the greatest cultural manifestation that exists.” This reach toward a new humanism through the praxis of revolutionary violence points directly to the problem of beginnings. As Arendt observes in On Revolution, “[r]evolutions are the only political events which confront us directly and inevitably with the problem of beginning.” Anti-colonial violence, for Fanon, inaugurates the beginning of political life; the colonized native reconstitutes himself as a βίοσ πολιτικόσ capable of both speech and praxis. For Sartre, anti-colonial violence reveals the dialectical necessity of world history in its struggle towards genuine universality and the utopia of a “classless” society. (shrink)

One of the unique challenges of reading Les damnés de la terre ( The Wretched of the Earth ) today is that while it is an irredeemably revolutionary text, we live in a counter-revolutionary moment or in a global context that has tried very hard to discredit even the possibility of revolution. Fanon’s text does not only narrate the effective undertaking of an anti-colonial struggle—of what is required for people to identify the actual causes of their alienation and (...) unfreedom and together to will their elimination—it also outlines the various, often dialectical challenges of restructuring a society from the bottom up. Guiding and evident in the latter is the flourishing of what Fanon suggestively called national consciousness . Elaborating its meaning and ongoing usefulness is the focus of this essay. (shrink)

This collection of essays marks the fiftieth anniversary of the publication of Frantz Fanon’s classic study of anticolonial struggle, _The Wretched of the Earth_. Scholars explore the relevance of Fanon’s work for current modes of psychoanalysis, postcolonial theory, and political thought. One contributor reposes a classic question of postcolonial scholarship: what does it mean for a colonial Caribbean man to practice a Continental intellectual tradition? Others identify Fanon’s experiences working at a mental institution in colonial French Algeria as a (...) powerful influence on his psychoanalytic perspective. This issue revitalizes Fanon’s canonical status as Third World theorist by asserting that the main imperatives of Fanon’s work remain as urgent as ever: combating the psychic and physical violence of colonialism, achieving real forms of liberation for colonized peoples, and ending the degradation of people of color. Contributors: Matthew Abraham, Gerard Aching, John E. Drabinski, Grant Farred, Nigel C. Gibson, Priyamvada Gopal, Joy James, Ranjana Khanna, Alfred J. López, Miguel Mellino, Simon Morgan Wortham, Richard Pithouse Grant Farred is Professor of Africana Studies and English at Cornell University. He is the former editor of the _South Atlantic Quarterly_ and the author, most recently, of_ Long Distance Love: A Passion for Football_. (shrink)

Frantz Fanon is principally known as a great theoretician of race relations and decolonization, in particular through the two main books he published during his lifetime Black Skin, White Masks and The Wretched of the Earth. What is less known is that he was in parallel a pioneering psychiatrist and an early and recognized theoretician of ethnopsychiatry. A volume of about a thousand pages of texts either difficult to access or presumed lost was recently published, following more than (...) a decade of research in archives located in different parts of the world. It reveals first the importance and originality of his thought as a scientist, and secondly the importance of this dimension of his work for the understanding of his political texts. This is shown on two points: 1) the role of violence in the decolonization process, when compared with Fanon’s texts on psychiatric internment, the phenomenon of agitation and the alternative model of social therapy and 2) the use of «identity» as cultural foundation for newly decolonized states, which he strongly criticised, when compared with Fanon’s systematic questioning of any personal «constitution» in his psychiatric and ethnopsychiatric work. (shrink)

Frantz Fanon’s posthumously published one act play, The Drowning Eye (2018, 81–112), reframes French existentialism in a postcolonial context by examining both the absurd and racial identity. Divided into three parts, this article first discusses the many parallels between The Drowning Eye and Jean-Paul Sartre’s No Exit (1989), both one act plays set in one room with the entire action of the play consisting of a dialogue among three individuals in a love triangle. The second part explores the role of (...) the absurd in existentialism by looking at character and thematic similarities between The Drowning Eye and Albert Camus’s The Stranger (1982), both of which reject religion as a source of meaning in life and embrace acceptance of the absurd as a liberating force. Fanon’s echoes of French existentialist themes situated in the context of decolonialism are explored in the third part. Fanon diverges from the apolitical alienation of The Stranger by instead interrogating racial binaries of former colonial subjects who either embrace or reject black consciousness. The Drowning Eye foreshadows Fanon’s later work, Black Skin, White Masks (Fanon 2008) and lays the foundation for the analysis of decolonialism and national consciousness in The Wretched of the Earth (Fanon 2004). (shrink)

Despite all its merits, the vast majority of critical attention devoted to colonialist literature restricts itself by severely bracketing the political context of culture and history. This typical facet of humanistic closure requires the critic systematically to avoid an analysis of the domination, manipulation, exploitation, and disfranchisement that are inevitably involved in the construction of any cultural artifact or relationship. I can best illustrate such closures in the field of colonialist discourse with two brief examples. In her book The Colonial (...) Encounter, which contrasts the colonial representations of three European and three non-European writers, M. M. Mahood skirts the political issue quite explicitly by arguing that she chose those authors precisely because they are “innocent of emotional exploitation of the colonial scene” and are “distanced” from the politics of domination.`1We find a more interesting example of this closure in Homi Bhabha’s criticism. While otherwise provocative and illuminating, his work rests on two assumptions—the unity of the “colonial subject” and the “ambivalence” of colonial discourse—that are inadequately problematized and, I feel, finally unwarranted and unacceptable. In rejecting Edward Said’s “suggestion that colonial power and discourse is possessed entirely by the colonizer,” Bhabha asserts, without providing any explanation, the unity of the “colonial subject .”2 I do not wish to rule out, a priori, the possibility that at some rarefied theoretical level the varied material and discursive antagonisms between conquerors and natives can be reduced to the workings of a single “subject”; but such a unity, let alone its value, must be demonstrated, not assumed. Though he cites Frantz Fanon, Bhabha completely ignored Fanon’s definition of the conqueror/native relation as a “Manichean” struggle—a definition that is not a fanciful metaphoric caricature but an accurate representation of a profound conflict.3 1. M. M. Mahood, The Colonial Encounter: A Reading of Six Novels , pp. 170, 171; and see p. 3. As many other studies demonstrate, the emotional innocence and the distance of the six writers whom Mahood has chosen—Joseph Conrad, E. M. Forster, Graham Greene, Chinua Achebe, R. K. Narayan, and V. S. Naipaul—are, at best, highly debatable.2. Homi K. Bhabha, “The Other Question—The Stereotype and Colonial Discourse,” Screen 24 : 25, 19.3. Frantz Fanon, The Wretched of the Earth, trans. Constance Farrington , p. 41. Abdul R. JanMohamed, assistant professor of English at the University of California, Berkeley, is the author of Manichean Aesthetics: The Politics of Literature in Colonial Africa. He is a founding member and associate editor of Cultural Critique and is currently working on a study of Richard Wright. (shrink)

In an earlier paper, written in reaction to those who argued that the African National Congress (ANC) had no alternative but to implement neoliberal economic policies in the context of the 'Washington Consensus', I discussed the strategic choices and ideological pitfalls of the 'political class' who took over state power in South Africa after the end of apartheid and implemented its own homegrown structural adjustment programme (Gibson 2001). Much of this transition has been scripted by political science 'transition literature' and (...) much of it is proactive, mapping out what should be done to establish a 'pacted', 'elite' democracy overseeing neoliberal economic policies (O'Donnell, Schmitter & Whitehead 1986). From another vantage point, I argued that Frantz Fanon's The Wretched of the Earth is perhaps one of the most perceptive critiques of the transition literature available. This article continues the discussion. (shrink)

In Frantz Fanon and Emancipatory Social Theory: A View from the Wretched, Dustin J. Byrd and Seyed Javad Miri bring together a collection of essays by a variety of scholars who explore the lasting influence of Frantz Fanon, psychiatrist, revolutionary, and social theorist. Fanon's work not only gave voice to the "wretched" in the Algerian War of Independence (1954-1962), but also shaped the radical resistance to colonialism, empire, and racism throughout much of the world. His seminal works, such (...) as Black Skin, White Masks, and The Wretched of the Earth, were read by The Black Panther Party in the United States, anti-imperialists in Africa and Asia, and anti-monarchist revolutionaries in the Middle East. Today, many revolutionaries and scholars have returned to Fanon's work, as it continues to shed light on the nature of colonial domination, racism, and class oppression. Contributors include: Syed Farid Alatas, Rose Brewer, Dustin J. Byrd, Sean Chabot, Richard Curtis, Nigel C. Gibson, Ali Harfouch, Timothy Kerswell, Seyed Javad Miri, Mumia Abu-Jamal, Pramod K. Nayar, Elena Flores Ruiz, Majid Sharifi, Mohamed Imran Mohamed Taib and Esmaeil Zeiny. (shrink)

This article examines the role of the imagination in Fanon's and Husserl's work in order to rethink Fanon's relationship with Husserlian phenomenology. I begin with an investigation of the oft-overlooked ways in which the imagination appears in Wretched of the Earth. Here, I argue that Fanon puts a great deal of stock in the imagination, ultimately calling upon this faculty in order to presage the novel ways of being, thinking, and acting, which are a recurrent signature of his (...) vision of decolonization. In the latter half of the article, I then offer an account of the decisive methodological significance of the imagination within Husserl's work. Revisiting the methodological infrastructure of phenomenology with Fanonian concerns in mind casts Husserl's project in a surprising new light, bringing to the fore the revolutionary potential of both the epoché and the method of eidetic variation. For at the core of Husserlian methodology lies a resolve to exceed the limits of our present empirical reality—a leitmotiv of Fanon's own thinking. I ultimately show that Fanon's work can thus be imagined as a reactivation, indeed a revolution, inaugurated at the heart of phenomenology and its most basic methodological commitments. (shrink)

This article presents Édouard Glissant's account of a composite community as an articulation of Frantz Fanon's alternative, de-colonial conception of the nation. It shows that, subsequent to Fanon's critique of the xenophobia and racism of a narrow nationalism, we are left with a conception of a national consciousness that registers with what Glissant names, in Poetics of Relation, a composite community in relation. Both accounts ground community in a foundation of difference, process and dynamism, all of which is carried into (...) a collective identity, without the reductive homogenizing practices of most nation-building endeavors. As such, the article argues that Glissant's work is positioned to underscore what, in Fanon's understanding of national culture, is meant to protect the living dynamism of a people from a chauvinistic ultra-nationalism. Similarly, the work of The Wretched of the Earth can be used to take Glissant's alternative political ontology into the arena of thinking the nation otherwise. (shrink)

The impetus for this paper was the attack on the shack dweller movement in South Africa in September 2009. One question that emerged from the attack is what can committed intellectuals do to create active solidarity with movements of "the damned of the earth" in times of crisis. Thinldng of Fanon's critique of middle class anticolonial intellectual in The Wretched of the Earth and of Abahlali's insistence that their thinldng counts, the paper considers Fanon concept of political (...) education rejecting the idea that it is something that a vanguard party, an avant garde artist, a self-appointed leader, the military or even a community educator provides. Instead, the paper advocates a radical ethical move toward a constant dialogue that encourages and appreciates the reason of those so often excluded from decision making. But while an ethical shift toward lived experience is a usefiil foundation, intellectual labor applies itself to a search for new beginnings through developing an intellectual space of action where, potentially, the reflecting "consciousness full of contradictions" can help articulate itsphilosophical principles and realize its notion in fiercely democratic grassroots movements which Abahlali's president, S'bu Zikode, calls a "living communism."One may recall that China and the tables began to dance when the rest of the world appeared to be standing still—pour encourager les autres.Marx, Capital (1977: 164). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Looking Death Straight in the Eye:The Wisdom and Witness of the SaintsPaul Murray O.P.At the Basilica of San Clemente here in Rome, the tomb which lies directly under the high altar contains, according to received tradition, the relics of both St. Clement of Rome and St. Ignatius of Antioch. Elsewhere, in the San Clemente complex, there is another tomb or sarcophagus, unknown to the public, whose original place may (...) well have been in the atrium of the Basilica. It now finds its place in the garden of the Irish Dominican Collegio adjoining the Basilica.This tomb, an ancient Roman sarcophagus of grey marble, was re-used in medieval times, around the year 1300, in order to house the remains of a certain Nicolaus Boniseniore.1 Nicolaus, a lawyer by profession, belonged to a prominent Sienese family which, in the late thirteenth century, were bankers to the papacy. Why I have chosen to make reference to this particular tomb is because, inscribed across its front in bold letters, is an unusually striking statement concerning death. Nicolaus who was, we are told in the inscription, "distinguished" during his life "by the glory of his knowledge of the law,"2 now speaks from the tomb, as it were, stripped of all prestige and glory, his haunting, ghostly words a warning to all those coming after him of the vanity of earthly endeavor. [End Page 923]Recognise in me, you who read this how limited are the possibilities of mankind. As I was, what you are, I was Lord of my possibilities. Now I am no more because I am dust and bones. So will you too no longer be the master of your own potential when you will be interred. The fame of the world, honours, prominent position, rank and influence, nobility, strength, pleasure, celebrity, delights and laments, high birth and wisdom, … vigour, boldness and intimidation, bruised pride, illness and everything passes except for the love of God. … Finally, I was abandoned to wretched death. Then according to the will of Christ I was shut up in this grave. Naked was enough for me, who once could not do without a big house, a wide bed, fine clothes and tableware. Without a bed I am laid naked in this marble tomb. I have no pillow, sheets, mattress or linen. I have no overgarment, not even an undershirt. To die is the destiny of all. Death admits no respect for honour; it spares neither the greatest nor the smallest. There are three things which you should know in order to live correctly: be thankful for death, pious and disdainful of worldly goods.3Few texts written in the Christian era, or indeed in any era, evoke with such compelling force the sharp, devastating impact of death, the utter and complete loss of so many treasured earthly goods and pleasures, earthly honors, powers, and privileges. But the statement itself, although composed in the Christian era and by a Christian believer—is it in any real sense Christian in spirit? Yes, we do hear sounded, it is true, a few notes of Christian piety, but these are decidedly faint and seem almost to lack conviction. What we don't hear sounded anywhere in the text is the clear note of Christian hope. Although the sarcophagus has obviously been made to serve as a Christian tomb, there survives in the statement of Niccolò an almost pagan perspective on death, a grim and unhappy sense of doom, a stark melancholy. Pagan stone, pagan marble, entombs the Christian voice.But what is it, we need to ask, that constitutes an authentic Christian understanding of death? My aim in the present paper is, while offering a few general comments on the question, to explore how, over the centuries, death has been viewed and approached by the Christian saints. Three sections comprise the work: (1) Facing Death: The Distinctive Christian Vision; (2) Scandal or Blessing: Christian Grief in the Face of Death; (3) Imagining the Unimaginable: Visions of the Afterlife. [End Page 924]Facing Death: The Distinctive Christian VisionFour centuries before Christ, around the year 441 BC, the Greek chorus in one of the plays by... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On the Need for a New Ethos of White AntiracismShannon SullivanWhite people in this country will have quite enough to do in learning how to accept and love themselves and each other, and when they have achieved this—which will not be tomorrow and may very well be never—the Negro problem will no longer exist, for it will no longer be needed.—James Baldwin, The Fire Next TimeIn his classic manifesto (...) on race, The Fire Next Time, James Baldwin passionately urges black people not to retaliate against white people by attempting to debase or dominate them in return. The reason is that doing so would harm black people most of all. As Baldwin (1963, 113) assures his readers,I am very much concerned that American Negroes achieve their freedom here in the United States. But I am also concerned for their dignity, for the health of their souls, and must oppose any attempt that Negroes may make to do to others what has been done to them. I think I know—we see it around us every day—the spiritual wasteland to which that road leads.... I would not like to see Negroes ever arrive at so wretched a condition.Likewise, when Martin Luther King Jr., urged his black church members to love their white enemies rather than return their racial hate, he did so because he believed that “hate distorts the personality of the hater. We usually think of what hate does for the individual hated or the individuals hated or the groups hated. But it is even more tragic, it is even more ruinous and injurious to the [End Page 21] individual who hates” (King 1957). While Baldwin was an avowed atheist and King a Christian minister, both warned of the devastating effects of white racism on “the souls of white folk,” and they pleaded and preached that black people should not stoop to white people’s debased level.1 Out of all the damage that white racism has done to African Americans and other people of color, the most damaging of all would be for it to turn them into the debilitated, deplorable people that white folk generally are.We might say that on Baldwin’s (and perhaps also King’s) view, white people are the truly “wretched of the earth” (Fanon 1965). It has been argued that white racism has cost white people their capability for intimacy, their affective lives, their authenticity, their sense of connection to other people, and their spiritual selves (Segrest 2001, 65). These claims are not an attempt to trump or erase the enormous physical, psychological, economic, spiritual, and other types of pain that white people have caused people of color around the world. They instead are a recognition that white people’s attempts to gain material riches and political power through the domination of people of color have impoverished and depleted their own souls. White people qua white are ill in that their racial habits largely have been built out of greed, hatred, jealousy, fear, and cruelty. Their psychosomatic health has suffered and continues to suffer because of their toxic racial identities.So much the worse for white people, we might think. But although understandable, this response would be misguided since white people’s psychosomatic depletion has implications for the well-being of others. Put succinctly, white people’s unhealthiness helps fuel their abuse and domination of people of color. It thus matters to struggles for racial justice whether white people are psychosomatically healthy and strong. It matters which affects, emotions, and passions fund white people’s actions in general, and their work for racial justice in particular. In this paper, I will draw from Friedrich Nietzsche, Teresa Brennan, and other scholars to explain the ontological and power-full aspects of affect, touching briefly on the toxicity of white guilt and shame and focusing especially on the healthiness of what Nietzsche calls a bestowing self-love. I will argue that in the context of white people’s contributions to racial justice movements, a positive effect of their bestowing self-love is that white people will be more likely and better able to clean up their own house... (shrink)

The problem of change recurs across Frantz Fanon's writings. As a philosopher, psychiatrist, and revolutionary, Fanon was deeply committed to theorizing and instigating change in all of its facets. Change is the thread that ties together his critical dialogue with Hegel, Marx, Freud, and Nietzsche and his intellectual exchange with Césaire, Kojève, and Sartre. It informs his analysis of racism and colonialism, négritude and the veil, language and culture, disalienation and decolonization, and it underpins his reflections on Martinique, Algeria, the (...) Caribbean, Africa, the Third World, and the world at large. Gavin Arnall traces an internal division throughout Fanon's work between two distinct modes of thinking about change. He contends that there are two Fanons: a dominant Fanon who conceives of change as a dialectical process of becoming and a subterranean Fanon who experiments with an even more explosive underground theory of transformation. Arnall offers close readings of Fanon's entire oeuvre, from canonical works like Black Skin, White Masks and The Wretched of the Earth to his psychiatric papers and recently published materials, including his play, Parallel Hands. Speaking both to scholars and to the continued vitality of Fanon's ideas among today's social movements, this book offers a rigorous and profoundly original engagement with Fanon that affirms his importance in the effort to bring about radical change. (shrink)

This essay focuses on the danger of complicity. American philosophers, given their country’s hegemonic position, exert global influence; what form should it take? Comparison is made with the situation of France when it still controlled Algeria. French philosophers, until near the time of Algerian independence, generally accepted and sometimes profited from this extremely unjust situation. An important exception was Sartre, particularly in his Preface to Fanon’s The Wretched of the Earth. It is argued that elements of complicity with (...) American global dominance, some of the more unjust aspects of which are listed, are to be found in such widely read philosophers as Rawls and Rorty. It is suggested that a rethinking of the problem of evil, in its political and not just its religious aspects, is in order. Finally, a broader view of what ‘American philosophy’ means, including, for instance, the voices of African American and Native American philosophers, is urged. (shrink)

We have become estranged from the cosmic movements, according to Bataille. We are confined by the error linked to the representation of ‘the stationary earth’. We have negated the immersive immanence of the whole and made nature into a fixed world of tools and things. How then do we recognise ourselves as part of the ‘rapture of the heavens’? Bataille urges us to consider life as a solar phenomenon, the free play of solar energy on the earth. This (...) paper argues how Bataille’s cosmic vision anticipates both planetary and ecological thinking. This entails a base materialism of difference based on a radical Nietzschean and Heraclitean theory of becoming and flux. This thought is developed along Bataillean concepts such as the movement of the whole, the labyrinthine, and compound beings, ipseity, as well as the concept of a communifying movement. This materialism paired with Vladimir Vernadsky’s biosphere lays the foundation for the laws of the general economy, which also constitutes an economy inclusive of a general ecology: a tragic vision of Gaia and Dionysos. Finally, poetry is considered, as a way we might reconnect with the universe and stimulate ecological imagination. (shrink)

Nearly forty years after his death, social philosopher Frantz Fanon remains a towering intellectual figure. Born in Guadeloupe and trained as a psychologist in France, Fanon rejected his French citizenship to join the Algerian liberation movement in the 1950s. A brilliant scholar who developed the theory that some neuroses are socially generated, Fanon's revolutionary works—The Wretched of the Earth, Toward the African Revolution, and Black Skin, White Masks—spurred an African intellectual awakening. The rebirth of Fanonism today in universities (...) and the English-speaking world is a testament to his relevance. Edited by distinguished African-studies professor Nigel C. Gibson, Rethinking Fanon opens with an authoritative biography which corrects fallacious assertions about Fanon's life, situating him in Marxism, Negritude, Pan-Africanism, and the historical context of postwar decolonization, specifically the Algerian revolution. Section one is highlighted by extended discussions of Marx, Fanon's theories on sophisticated forms of cultural racism, and "true liberation." The next section examines Fanon's humanist philosophy, his philosophical and geographical journeys, and his attitude toward the necessity of revolution. Also included is Homi Bhabha's well-known essay "Remembering Fanon," which contemplates the seeming rejection of Fanon in Britain in the 1970s, in contrast to his major following in America and the influence of Fanon on South African writer Steven Biko. Henry Louis Gates Jr. and Edward Said discuss the importance of the 1980s' and 1990s' cultural and literary debates on Fanon. Gates notes that Fanon has been reinstated -not as a global theorist of "third world" revolution, but instead as a critic of English writers and British romanticists. Benita Parry reexamines African nationalism and liberation, and sheds new light on Fanon's questions of identity and agency. This excellent collection reflects the continuing impact of Fanon's thought on African-American and African studies, feminism, postcolonialism, and cultural studies. (shrink)

This article addresses relations between concepts of ‘self’, ‘other(s)’ and ‘othering’ through a reading of the revolutionary psychiatrist Frantz Fanon’s psychoaffective phenomenological and pedagogical narrative approach, reading his work as phenomenological and educational as well as critiquing phenomenology, psychology, education and (of course) psychiatry. While most—especially educational—commentators base their engagement with Fanon’s revolutionary materialist phenomenology of racialised embodiment and consciousness on his first book, Black Skin White Masks and attend to his final book, Wretched of the Earth as (...) expressing his core political and philosophical analyses, this article focuses in particular on Fanon’s second and middle book, A Dying Colonialism, evaluating the political possibilities of the specific narrative temporalities elaborated there. Notwithstanding its rather dismissive reception, it is argued that this, middle, book—written during, and as a document of, the Algerian liberation struggle—expresses and develops Fanon’s psychopolitical and performative philosophy of subjective and objective transformation from alienation to emancipation. This philosophy works pedagogically, in imagining the transformation of relations between others, as well as between self and others, including relations between coloniser and colonized, as also between and within selves. (shrink)

With the flowering of postcolonialism, we return to Frantz Fanon, a leading theorist of the struggle against colonialism. In this thorough reinterpretation of Fanon's texts, Ato Sekyi-Otu ensures that we return to him fully aware of the unsuspected formal complexity and substantive richness of his work. A Caribbean psychiatrist trained in France after World War II and an eloquent observer of the effects of French colonialism on its subjects from Algeria to Indochina, Fanon was a controversial figure--advocating national liberation and (...) resistance to colonial power in his bestsellers, Black Skin, White Masks and The Wretched of the Earth. But the controversies attending his life--and death, which some ascribed to the CIA--are small in comparison to those surrounding his work. Where admirers and detractors alike have seen his ideas as an incoherent mixture of Existentialism, Marxism, and psychoanalysis, Sekyi-Otu restores order to Fanon's oeuvre by reading it as one dramatic dialectical narrative. Fanon's Dialectic of Experience invites us to see Fanon as a dramatist enacting a movement of experience--the drama of social agents in the colonial context and its aftermath--in a manner idiosyncratically patterned on the narrative structure of Hegel's Phenomenology of Spirit. By recognizing the centrality of experience to Fanon's work, Sekyi-Otu allows us to comprehend this much misunderstood figure within the tradition of political philosophy from Aristotle to Arendt. Reviews of this book: "The goal of this often brilliant and always engaging book is to 'read Fanon's texts as though they formed one dramatic dialectical narrative'; the principal subject of this dramatic narrative, according to Sekyi-Otu, is 'political experience'. It is his deployment of a dialectical analysis of Fanon's 'dramatic personae' that permits Sekyi-Otu's fresh and insightful readings to take place." DD--Anthony C. Alessandrini, Minnesota Review "Ato Sekyi-Otu departs from the postmodernist paradigm and ushers in an alternative hermeneutic that primarily considers Fanon's texts as forming 'one dramatic dialectical narrative,' that is a narrative whose complexity is correlative of the intricate configurations of African social experience during the post-independent era...[His] book is an invaluable contribution that offers broader scope for a new appreciation of Fanon's political thinking." DD--Marc Mve Bekale, Revue AFRAM Review [UK] "[I]mportant...The author succeeds in...revealing the complexity and nuanced character of Fanon's thought." DD--Choice "Those who would dismiss or exult Fanon as the high priest of revolutionary violence will be chastened by this patient and completely convincing exposition of his work. Sekyi-Otu produces a reflexive, 'Gramscian' Fanon who, working as a 'detective of the politics of truth,' has produced insights that need to be taken over into the core of democratic political thought." DD--Paul Gilroy, University of London. (shrink)

In this essay I argue that the concept of “the body,” ironically generic and a-bodily, is a legacy of the modern political/ecological distinction. I proceed through five sections. First I suggest that the political and the ecological, in spite of a lot of excellent work undermining the nature-culture distinction, remain mutually resistant concepts. In section two I argue that this split can be partially understood through the work of Bruno Latour. For Latour modernity is defined by an attempt to purge (...) culture of nature. This is the “first Great Divide” that constitutes modernity as a concept and in fact a distinct nature-culture. For Latour, this distinction then gets externalized or projected to create a second Great Divide, one imagined by moderns between themselves and other societies. To illustrate the extent of the sway of this distinction, I read a recent and widely influential essay on doing history in the Anthropocene by Dipesh Chakrabarty. Chakrabarty underestimates the role of the nature-culture distinction in the making of climate crisis. Here I also explain that perhaps what is needed is recognition that the human as a morphology both separates itself from ecology and yet—incompatibly—is considered to be an ecological pinnacle. The human isn’t and yet is ecological. Differences among humans, when they are discussed, are attributed unilaterally to the political side of a new political-ecological split. After Latour the nature and culture distinction is questionable, but a political-ecological split survives that attributes the eruptions of discontinuous life entirely to human agency. In the third section I then turn to the work of Frantz Fanon to argue that Latour’s Great Divides are expressed as “Manichaean” in Fanon’s The Wretched of the Earth. The “ecological” import of Fanon’s concept of Manichaean-ism has largely been missed, thanks both to the salience of the political-ecological distinction and to the subtlety of Fanon’s account. But Fanon is not only talking about politics; he’s talking about ecology. The human, Fanon explains, is meant to be a natural master of the planet, a human among animals. The human is master of all “matter” with which all things related to bodies and all bodies related to things are identified. In the fourth section I suggest that it is this modern Manichaean-ism that produces a crucial double bind in the present: Those who fail to be “the body” of modernism are also those most harmed by its elemental (a word I borrow from a critical reading of Maurice Merleau-Ponty and Luce Irigaray for an indistinguishably political and ecological) destruction. Politics, at least in the tradition that gives rise to modern politics, is in fact and has always been the privileging of certain bodies over others. There is no perfectly apolitical bodily feature, though some features of bodies are more politically formative than others. Modernity does nothing to intervene on this. In fact it exacerbates this theme. Neither the discourse of politics nor the discourse of ecology offers refuge to those whose bodies are considered a threat to a human morphology that is planetarily alienated. In the final section of the essay I argue that this partitioning of politics (relations among the humans) from ecology produces “the body” and its generic justice. I return to Latour to argue that he ultimately does not appreciate the double bind discussed in section four. Fanon does. Therefore Fanon offers a better framework for undermining “the political,” not by reducing it to the modern sense of “the ecological,” but by giving attention to what he suggests is the “cortico-visceral” injustice of a modernity that denies its own earthly status. (shrink)

Whether on personal health, politics, or climate change, we are constantly bombarded with more numerous 'breaking news' articles than we have time for. In such an environment, how can we tell which to read, or which is even true. Science of the Earth, Climate and Energy helps readers understand major issues that affect us individually and the world as a whole. In language that a non-scientist can follow easily, the book first explains the general principles of science, its nature (...) and how it works, with a certain degree of emphasis on the meaning of the words "uncertainty" and "fact, before it goes into the related topics of the earth, its climate and energy sources at a level that does not require a background in science. Finally, the book addresses what individuals and societies can do to mitigate problems associated with both climate change and limited resources. (shrink)

What is immediately strange about Sartre’s controversial preface to Fanon’s The Wretched of the Earth is its mode of address. To whom is this preface written? Sartre imagines his reader as the colonizer or the French citizen who recoils from the thought of violent acts of resistance on the part of the colonized. Minimally, his imagined reader is one who believes that his own notions of humanism and universalism suffice as norms by which to assess the war for (...) independence in Algeria and similar efforts at decolonization. Sartre’s address to his audience is direct and caustic: “What does Fanon care whether you read his work or not? It is to his brothers that he denounces our old tricks”. At one point, he seems to take his implied readers aside, addressing the preface to them directly. (shrink)

Georg Wilhelm Hegel’s dialectic plays a crucial role in some of the thought of the most prominent Black thinkers. The role it plays has received little attention. In this dissertation, I begin to fill this lacuna in Africana Philosophy by examining the arguments of William Edward Burghardt Du Bois in “The Conservation of Races,” Frantz Fanon in Black Skin, White Masks and The Wretched of the Earth, and Cyril Lionel Robert James in The Black Jacobins: Toussaint L’Ouverture and (...) the San Domingo Revolution and Notes on Dialectics: Hegel, Marx, Lenin. I argue that forms of praxis are the result of their engagement with Hegel’s dialectic: reflexive practice, absolute praxis, and organic praxis respectively. I show that in each of these cases Hegel’s dialectical approach to history (dialectical thinking) was essential to their own attempts to understand the possibility of a positive transformation of the pervasively racist world they inhabited. (shrink)

We need a new philosophy of the earth. Geological time used to refer to slow and gradual processes, but today we are watching land sink into the sea and forests transform into deserts. We can even see the creation of new geological strata made of plastic, chicken bones, and other waste that could remain in the fossil record for millennia or longer. Crafting a philosophy of geology that rewrites natural and human history from the broader perspective of movement, Thomas (...) Nail provides a new materialist, kinetic ethics of the earth that speaks to this moment. Climate change and other ecological disruptions challenge us to reconsider the deep history of minerals, atmosphere, plants, and animals and to take a more process-oriented perspective that sees humanity as part of the larger cosmic and terrestrial drama of mobility and flow. Building on his earlier work on the philosophy of movement, Nail argues that we should shift our biocentric emphasis from conservation to expenditure, flux, and planetary diversity. Theory of the Earth urges us to rethink our ethical relationship to one another, the planet, and the cosmos at large. (shrink)

I’m certainly not alone in noting that the year 2011 brings, for those of us who are students of the work of Frantz Fanon, two different anniversaries. This year marks the fiftieth anniversary of the publication of Les damnés de la terre , Fanon’s final book and, for many, his most lasting achievement. But it also marks the fiftieth anniversary of Fanon’s death: he died, tragically young, on December 6, 1961, not long after the book’s publication. It is no exaggeration (...) to say that Les damnés de la terre was composed by Fanon from his deathbed, and that he was well aware that he was racing death as he rushed to complete the manuscript, as his publisher François Maspero remarked, “in pitiful haste.” Fanon had managed to complete it by July, although, as he told a friend, “I should have liked to have written something more.” As David Macey notes in his indispensable biography, “Fanon did see copies of his last book, but for its first readers, Les damnés de la terre was a posthumous work.” The book and Fanon’s death thus come to us bound inextricably together, fifty years later. So it would seem that we have an anniversary to celebrate (and in doing so, we would thus be celebrating the continuing relevance of a classic work, as this special issue intends us to do), but also a death to mourn. If I proceed to make a suggestion that will seem at first to be the height of perversity, let me preface it by saying that this suggestion is occasioned by what I believe to be Fanon’s greatest legacy, a legacy of unsparing intellectual and political commitment. For I want to begin by suggesting that this year brings us the mournful fact that fifty years on, Les damnés de la terre remains, in many ways, as relevant to our contemporary world as it was in 1961; but conversely, the anniversary of Fanon’s death offers us a cause for celebration. . (shrink)

This essay reads Sylvia Wynter’s only novel The Hills of Hebron as a modern tragedy, one that both challenges and builds upon Raymond Williams’s concept of modern tragedy. The essay’s main argument is that tragedy, as a literary form, and the tragic, as a philosophical concept, are fundamental to Wynter’s project of creating forms of counterpoieses. Engaging Wynter’s interlocution with tragedy is crucial for comprehending how she is able to transform loss into a condition of possibility, primarily for the writing (...) of what she calls “traumatic time.” Instead of only blocking mental representation, traumatic loss in Wynter becomes the first gesture of a philosophical activity that makes presentable that which has been lost or abandoned to a state of ruin, an argument that Walter Benjamin, another writer in dark times, had earlier made in The Origin of German Tragic Drama. Occupying the temporality of the tragic, Wynter has always made the re-assumption of the past—“slave, slave masters and all,” as she says—central to her project of critiquing and dismantling the “descriptive statement” of Man as the only permissible version of the Human. In my reading of The Hills of Hebron, I show how the novel utilizes the aesthetic, particularly the medium of theatricality, as the grounds for a theoretical framework that makes, in a manner redolent of Antigone, “the wretched of the earth” presentable not as “symbolic death” but rather as allegories of resistance. (shrink)

A deep dive into the influences of Hegelian thought on the work of revolutionary and postcolonial theorist Frantz Fanon Hegel is most often mentioned – and not without good reason – as one of the paradigmatic exponents of Eurocentrism and racism in Western philosophy. But his thought also played a crucial and formative role in the work of one of the iconic thinkers of the ‘decolonial turn’, Frantz Fanon. This would be inexplicable if it were not for the much-quoted ‘lord-bondsman’ (...) dialectic – frequently referred to as the ‘master-slave dialectic’ – described in Hegel's The Phenomenology of Spirit. Fanon takes up this dialectic negatively in contexts of violence-riven (post-)slavery and colonialism; yet in works such as Black Skin, White Masks and The Wretched of the Earth he upholds a Hegelian-inspired vision of freedom. The essays in this collection offer close readings of Hegel’s text, and of responses to it in the work of twentieth-century philosophers, that highlight the entangled history of the translations, transpositions and transformations of Hegel in the work of Fanon, and more generally in colonial, postcolonial and decolonial contexts. (shrink)

Anticolonial theorists and revolutionaries have long turned to dialectical thought as a central weapon in their fight against oppressive structures and conditions. This relationship was never easy, however, as anticolonial thinkers have resisted the historical determinism, teleology, Eurocentrism, and singular emphasis that some Marxisms place on class identity at the expense of race, nation, and popular identity. In recent decades, the conflict between dialectics and postcolonial theory has only deepened. In _Decolonizing Dialectics _George Ciccariello-Maher breaks this impasse by bringing the (...) work of Georges Sorel, Frantz Fanon, and Enrique Dussel together with contemporary Venezuelan politics to formulate a dialectics suited to the struggle against the legacies of colonialism and slavery. This is a decolonized dialectics premised on constant struggle in which progress must be fought for and where the struggles of the wretched of the earth themselves provide the only guarantee of historical motion. (shrink)

Anticolonial theorists and revolutionaries have long turned to dialectical thought as a central weapon in their fight against oppressive structures and conditions. This relationship was never easy, however, as anticolonial thinkers have resisted the historical determinism, teleology, Eurocentrism, and singular emphasis that some Marxisms place on class identity at the expense of race, nation, and popular identity. In recent decades, the conflict between dialectics and postcolonial theory has only deepened. In _Decolonizing Dialectics _Geo Maher breaks this impasse by bringing the (...) work of Georges Sorel, Frantz Fanon, and Enrique Dussel together with contemporary Venezuelan politics to formulate a dialectics suited to the struggle against the legacies of colonialism and slavery. This is a decolonized dialectics premised on constant struggle in which progress must be fought for and where the struggles of the wretched of the earth themselves provide the only guarantee of historical motion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On the Fifth Stasimon of Euripides' MedeaCharles SegalAmong the lyrics of extant Greek tragedy several passages of Euripides are remarkable for the effects of pathos achieved by introducing children. In Alcestis the children of the protagonists appear unexpectedly on the stage and sing a strophic lament over their dead mother, punctuated by two trimeters of Admetus sharing their grief (392-415). Suppliants presents an even longer and more complex choral (...) lament as Euadne's now orphaned children join with the chorus in a commatic, antiphonal thrēnos for their mother (1123-64).1 Their appearance not only adds to the sudden flurry of new characters when the play is already nearing its end (Euadne enters at 990 and her father Iphis at 1034) but also fills out the panorama of lament at the end of the play: children and a father lament over a mother and a daughter who chose a heroic death, and the Argive children, thanks to Theseus, can lament over the bodies of their slain warrior fathers (Supp. 1114-75). The parallelism helps emphasize the heroism of Euadne, one of several self-sacrificing women in these so-called political plays.Euripides obtains another kind of pathos by the offstage cries of Medea's children at the moment of their murder. In an initial strophe and antistrophe the chorus of Corinthian women expresses its horror at the imminent slaughter and speculates on its supernatural causes (an Erinys in the house, 1258-60) and also on its human motivations (Medea's [End Page 167] rage, 1265-67). There follows a cry from within the house, indicated by μοι, which a third century B.C. papyrus fragment has now restored to the text.2 In the ensuing exchange the chorus sings in dochmiacs while the children cry out in iambic trimeters from within the house (1270a-81):Child (within). Alas for me.Chorus. Do you hear, do you hear the children's shouting? Alas, miserable woman, ill-starred.Child A. Alas, what shall I do? Where shall I flee my mother's hands?Child B. I know not, dearest brother; for we are being destroyed.Chorus. Shall I enter the house? I am decided to ward off murder from the children.Child A. Yes, in the gods' name, help; for we stand in need.Child B. How close we are to the snares of the sword.Chorus. Wretched woman, truly then you are rock or iron, you who will kill with a doom from your own hands the fruit of children that you bore!The audience, we must recall, can have only a vague idea about how the children would die, for Euripides seems to be the first poet to [End Page 168] make Medea kill them intentionally.3 The chorus began their previous ode, the fourth stasimon, by abandoning hope for the children's lives (, 976-77: "Now no longer do I have any hope of the children's lives, no longer; for they are already going to their murder"). Despite Medea's impulses of love and pity in the celebrated speech of inner struggle that follows this ode (1040-80), we experience the increasing inevitability of the children's deaths, especially after the news of Creon's and the Princess' deaths (cf. 1236-41). In contrast to her earlier hesitation, when she addressed her thumos with a plea not to do the deed (1056), Medea now, just before the fifth stasimon, addresses heart and hand to steel themselves for the final step of her revenge. Although Medea is now irrevocably committed to the murder, her speech nevertheless marks another moment of deep tragic division between maternity and vengefulness (1244-50):4Come, my wretched hand, take the sword, take it, and go toward the painful goal of your life, and do not yield to cowardice or remember how dear are the children, how you gave them birth, but for this short day forget your children, and then utter your lament. For if you kill them, yet they are dear. Unfortunate woman that I am.5When the chorus, in the ode that follows these lines, prays to Earth and Helios, it brings us closer to a vision... (shrink)

Ranging from the ancient world to the recent past, and drawing on non-European traditions of thought, this study voices current concerns about the natural world and discusses the relationship of human beings to their environment.

In the conclusion to Black Skin, White Masks, Frantz Fanon seemingly rejects the role that the past can play in the creation of decolonized futurities, famously writing: “I am not a prisoner of History (l’Histoire). I must not look for the meaning of my destiny in that direction.” On this basis, Fanon’s thought has often been read as opposed to the more prophetic vision of the past offered by Édouard Glissant, which emphasizes the contrapuntal potentialities that inhere in Black vernacular (...) cultures and histories. In contrast to such readings, this paper contends that Fanon and Glissant similarly uphold a dual conception of the past as encompassing both History (l’Histoire), or the racialized fantasy of chronological linearity that was invented by Western modernity, and histories, a subterranean and mobile network of memories that always remains fugitive to the colonial machinations of History. Tracing this more ambivalent conception of the past through Black Skin, White Masks, Wretched of the Earth, and the writings that Fanon penned during his time as a psychiatrist in Algeria, I argue that Fanon’s thought on the past, far from being opposed to Glissant’s, in fact similarly upholds the prophetic value that the past qua histories can play in unleashing decolonized futurities. (shrink)