Theorizing Glissant

Édouard Glissant’s work has begun to make a significant impact on francophone studies and some corners of postcolonial theory. His literary works and criticism are increasingly central to the study of Caribbean literature and cultural studies.This collection focuses on the particularly philosophical register of Glissant’s thought. Each of the authors in this collection takes up a different aspect of Glissant’s work and extends it in different directions. twentieth-century French philosophy (Bergson, Badiou, Meillassoux), the cannon of Caribbean literature, North American literature and cultural theory, and contemporary cultural politics in Glissant’s home country of Martinique all receive close, critical treatment. What emerges from this collection is a vision of Glissant as a deeply philosophical thinker, whose philosophical character draws from the deep resources of Caribbean memory and history. Glissant’s central notions of rhizome, chaos, opacity, and creolization are given a deeper and wider appreciation through accounts of those resources in detailed conceptual studies.

Creolizing Critical Theory highlights the Caribbean as a philosophical site from which, for centuries and until today, theorists have articulated pressing critiques of capitalism and colonialism. Some of these critiques, such as those of the Saramaka Maroons, have stressed the value of autonomy. Others, such as those of the West Indies Federation, have emphasized solidarity in the face of European occupation. Critical Theory, as an emancipatory project rooted in the values of autonomy, solidarity, and equality, then, has long been a Caribbean practice. Drawing on a range of voices, Creolizing Critical Theory centers Caribbean critiques with a view toward praxis in the present.

In Narrating the Slave Trade, Theorizing Community, Raphaël Lambert applies contemporary theories of community to works of fiction about the slave trade in order to both shed new light on slave trade studies and rethink the very notion of community.

Glissant has written extensively in French about the colonial experience in the Caribbean. Britton (French, Aberdeen U., Scotland) situates Glissant within ongoing debates in postcolonial theory, making connections between his novels and theoretical work and the work of Frantz Fanon, Gayatri Spivak, Homi Bhanha, and Henry Louis Gates, Jr. Focusing on language and subjectivity, discussion moves between analysis of Glissant's theoretical work and detailed readings of his novels. Major themes central to his writing, such as the reappropriation of history, standard and vernacular language, and the colonial construction of the Other, are addressed. Annotation copyrighted by Book News, Inc., Portland, OR

This book develops a theory of a Caribbean-Atlantic imaginary by exploring the ways two colonial texts represent the consciousnesses of Amerindians, Africans, and Europeans at two crucial points marking respectively the origins and demise of slavocratic systems in the West Indies. Focusing on Richard Ligon’s History of Barbados (1657) and Matthew ‘Monk’ Lewis’ Journal of a West India Proprietor (1834), the study identifies specific myths and belief systems surrounding sugar and obeah as each of these came to stand for concepts of order and counterorder, and to figure the material and symbolic power of masters and slaves respectively. Rooting the imaginary in indigenous Caribbean myths, the study adopts the pre-Columbian origins of the imaginary ascribed by Wilson Harris to a cross cultural bridge or arc, and derives the mythic origins for the centrality of sugar in the imaginary’s constitution from Kamau Brathwaite. The book’s central organizing principle is an oppositional one, grounded on the order/counterorder binary model of the imaginary formulated by the philosopher-social theorist Cornelius Castoriadis. The study breaks new ground by reading Ligon’s History and Lewis’ Journal through the lens of the slaves’ imaginaries of hidden knowledge. By redefining Lewis’ subjectivity through his poem’s most potent counterordering symbol, the demon-king, this book advances recent scholarly interest in Jamaica’s legendary Three Fingered Jack.

A reevaluation of Édouard Glissant that centers on the catastrophe of the Middle Passage and creates deep, original theories of trauma and Caribbeanness While philosophy has undertaken the work of accounting for Europe’s traumatic history, the field has not shown the same attention to the catastrophe known as the Middle Passage. It is a history that requires its own ideas that emerge organically from the societies that experienced the Middle Passage and its consequences firsthand. Glissant and the Middle Passage offers a new, important approach to this neglected calamity by examining the thought of Édouard Glissant, particularly his development of Caribbeanness as a critical concept rooted in the experience of the slave trade and its aftermath in colonialism. In dialogue with key theorists of catastrophe and trauma—including Aimé Césaire, Frantz Fanon, George Lamming, Gilles Deleuze, Félix Guattari, Derek Walcott, as well as key figures in Holocaust studies—Glissant and the Middle Passage hones a sharp sense of the specifically Caribbean varieties of loss, developing them into a transformative philosophical idea. Using the Plantation as a critical concept, John E. Drabinski creolizes notions of rhizome and nomad, examining what kinds of aesthetics grow from these roots and offering reconsiderations of what constitutes intellectual work and cultural production. Glissant and the Middle Passage establishes Glissant’s proper place as a key theorist of ruin, catastrophe, abyss, and memory. Identifying his insistence on memories and histories tied to place as the crucial geography at the heart of his work, this book imparts an innovative new response to the specific historical experiences of the Middle Passage.

In Embodying Relation Allison Moore examines the tensions between the local and the global in the art photography movement in Bamako, Mali, which blossomed in the 1990s after Malian photographers Seydou Keïta and Malick Sidibé became internationally famous and the Bamako Photography Biennale was founded. Moore traces the trajectory of Malian photography from the 1880s—when photography first arrived as an apparatus of French colonialism—to the first African studio practitioners of the 1930s and the establishment in 1994 of the Bamako Biennale, Africa's most important continent-wide photographic exhibition. In her detailed discussion of Bamakois artistic aesthetics and institutions, Moore examines the post-fame careers of Keïta and Sidibé, the biennale's structure, the rise of women photographers, cultural preservation through photography, and how Mali's shift to democracy in the early 1990s enabled Bamako's art scene to flourish. Moore shows how Malian photographers' focus on cultural exchange, affective connections with different publics, and merging of traditional cultural precepts with modern notions of art embody Caribbean philosopher and poet Édouard Glissant's notion of “relation” in ways that spark new artistic forms, practices, and communities.

This book argues that the pervasiveness of the modern paradigm and its corollary, the colonial matrix of power, have led scholars of Negritude to think of Leopold Sedar Senghor’s work either as an anti-thesis to the anti-Blackness constitutive of European modernity or as another manifestation of the West as subject of history. As opposed to this tradition, the book reads Negritude through the prism of endogenous African world views without the filter of the modern Western paradigm. Print edition not for sale in Sub Saharan Africa.