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One of the towering classics of twentieth-century French literature, Phantom Africa is a singular and ultimately unclassifiable work: a book composed of one man's compulsive and constantly mutating daily travel journal--by turns melodramatic, self-deprecating, ecstatic and morose--as well as an exhaustively detailed account of the first French state-sponsored anthropological expedition to visit sub-Saharan Africa. In 1930, Michel Leiris was an aspiring poet drifting away from the orbit of the Surrealist movement in Paris when the anthropologist Marcel Griaule invited him to serve as the 'secretary-archivist' for the Mission Dakar-Djibouti, a major collecting and ethnographic journey that traversed the African continent between May 1931 and February 1933. Leiris, while maintaining the official records of the mission, documenting the team's acquisitions and participating in the research, also kept a diary where he noted not only a given day's activities and events but also his impressions, his states of mind, his anxieties, his dreams and even his erotic fantasies. Upon returning to France, rather than compiling a more conventional report or ethnographic study, Leiris decided simply to publish his diary, almost entirely untouched aside from minor corrections and a smattering of footnotes. The result is an extraordinary book: a day-by-day record of one European writer's experiences in an Africa inexorably shaded by his own exotic delusions and expectations on the one hand, and an unparalleled depiction of the paradoxes and hypocrisies of conducting anthropological field research at the height of the colonial era on the other. Never before available in English translation, Phantom Africa is an invaluable document. If the book is 'a stone marking a bend on a path that is entirely personal', as Leiris himself described it years later, it is also a book whose broad canvas bears witness to the full range of social and political forces reshaping the African continent in the period between the World Wars.
This book investigates the development of Afro-German literature in the context of the African American experience and shows the decisive role of literature for the emergence of the Afro-German Movement. Various Afro-German literary and cultural initiatives, which began in the 1980s, arose as a response to the experience of being marginalized - to the point of invisibility - within a dominant Eurocentric culture that could not bring the notions of "Black" and "German" together in a meaningful way. The book is a significant contribution to the understanding of German literature as multi-ethnic and of the the transatlantic networks operating in the African Diasporas.
This is the first full-length study in English of Michel Leiris's work. Frequently cited as a central figure in contemporary French culture, Seán Hand explores Leiris's participation in some of the most striking intellectual and artistic movements of the twentieth century; surrealism, ethnography and existentialism. Hand locates his writing in these different contexts in relation to the major artistic, political and philosophical concepts of the period. He goes on to argue that Leiris's multi-volume autobiography stands as the model form of self-enquiry in the twentieth century.
The first monograph to investigate the poetics and politics of haunting in African diaspora literature, Ghosts of the African Diaspora: Re-Visioning History, Memory, and Identity examines literary works by five contemporary writers - Fred D'Aguiar, Gloria Naylor, Paule Marshall, Michelle Cliff, and Toni Morrison. Joanne Chassot argues that reading these texts through the lens of the ghost does cultural, theoretical, and political work crucial to the writers' engagement with issues of identity, memory, and history. Drawing on memory and trauma studies, postcolonial studies, and queer theory, this truly interdisciplinary volume makes an important contribution to the fast-growing field of spectrality studies.
An action-packed biography of “one of the legitimate storybook heroes of World War II” and the special forces regiment he founded (The New York Times). In the dark and uncertain days of 1941 and 1942, when Rommel’s Afrika Korps was sweeping toward Egypt and the Suez Canal, a small group of daring raiders made history for the Allies. They operated deep behind German lines, driving hundreds of miles through the deserts of North Africa. They hid by day and struck by night, destroying aircraft, blowing up ammunition dumps, derailing trains, and killing many times their own number. These men were the Special Air Service. The SAS was the brainchild of David Stirling, a deceptively mild-mannered man with a brilliant idea. Under his command, small teams of resourceful, highly trained men penetrated beyond the front lines of the opposing armies and wreaked havoc where the Germans least expected it. From Virginia Cowles, whose biographies have been praised as “splendidly readable” (Sunday Times) and “fascinating” (Kirkus Reviews), this is a classic account of these raids, an amazing tale of courage, impudence, and daring packed with action and high adventure. Her narrative, based on the eyewitness testimony of the men who took part, gives a compelling insight into the early years of the SAS.
In 1941 Thelonious Monk and Kenny Clarke copyrighted “Epistrophy,” one of the best-known compositions of the bebop era. The song’s title refers to a literary device—the repetition of a word or phrase at the end of successive clauses—that is echoed in the construction of the melody. Written two decades later, Amiri Baraka’s poem “Epistrophe” alludes slyly to Monk’s tune. Whether it is composers finding formal inspiration in verse or a poet invoking the sound of music, hearing across media is the source of innovation in black art. Epistrophies explores this fertile interface through case studies in jazz literature—both writings informed by music and the surprisingly large body of writing by jazz musicians themselves. From James Weldon Johnson’s vernacular transcriptions to Sun Ra’s liner note poems, from Henry Threadgill’s arresting song titles to Nathaniel Mackey’s “Song of the Andoumboulou,” there is an unending back-and-forth between music that hovers at the edge of language and writing that strives for the propulsive energy and melodic contours of music. At times this results in art that gravitates into multiple media. In Duke Ellington’s “social significance” suites, or in the striking parallels between Louis Armstrong’s inventiveness as a singer and trumpeter on the one hand and his idiosyncratic creativity as a letter writer and collagist on the other, one encounters an aesthetic that takes up both literature and music as components of a unique—and uniquely African American—sphere of art-making and performance.
Even though many of France's former colonies became independent over fifty years ago, the concept of "colony" and who was affected by colonialism remain problematic in French culture today. Seloua Luste Boulbina, an Algerian-French philosopher and political theorist, shows how the colony's structures persist in the subjectivity, sexuality, and bodily experience of human beings who were once brought together through force. This text, which combines two works by Luste Boulbina, shows how France and its former colonies are haunted by power relations that are supposedly old history, but whose effects on knowledge, imagination, emotional habits, and public controversies have persisted vividly into the present. Luste Boulbina draws on the work of Michel Foucault, Frantz Fanon, and Édouard Glissant to build a challenging, original, and intercultural philosophy that responds to blind spots of inherited political and social culture. Kafka's Monkey and Other Phantoms of Africa offers unique insights into how issues of migration, religious and ethnic identity, and postcolonial history affect contemporary France and beyond.
Poetics and Politics of Shame in Postcolonial Literature provides a new and wide-ranging appraisal of shame in colonial and postcolonial literature in English. Bringing together young and established voices in postcolonial studies, these essays tackle shame and racism, shame and agency, shame and ethical recognition, the problem of shamelessness, the shame of willed forgetfulness. Linked by a common thread of reflections on shame and literary writing, the essays consider specifically whether the aesthetic and ethical capacities of literature enable a measure of stability or recuperation in the presence of shame’s destructive potential. The obscenity of the in-human, both in the colonial setting and in aftermaths that show little sign of abating, entails the acute significance of shame as a subject for continuing and urgent critical attention.
Schmidt’s is a story that takes account of the pathological mechanisms of colonialism. Duin’s annotated translation of Lodewijk Schmidt’s ethnographic accounts forces us to reflect upon the catastrophe that is ethnocide and deforestation of the Eastern Guiana Highlands in Amazonia.
Modernity has long been equated with motion, travel, and change, from Marx's critical diagnoses of economic instability to the Futurists' glorification of speed. Likewise, metaphors of travel serve widely in discussions of empire, cultural contact, translation, and globalization, from Deleuze's "nomadology" to James Clifford's "traveling cultures." John Culbert, in contrast, argues that the key texts of modernity and postmodernity may be approached through figures and narratives of paralysis: motion is no more defining of modern travel than fixations, resistance, and impasse; concepts and figures of travel, he posits, must be rethought in this more static light. Focusing on the French and Francophone context, in which paralyzed travel is a persistent motif, Culbert also offers new insights into French critical theory and its often paradoxical figures of mobility, from Blanchot'spas au-delaand Barthes'sderiveto Derrida'saporiasand Glissant'sdiversions. Here we see that paralysis is not merely the failure of transport but rather the condition in which travel, by coming to a crisis, calls into question both mobility and stasis in the language of desire and the order of knowledge.Paralysesprovides a close analysis of the rhetoric of empire and the economy of tourism precisely at their points of breakdown, which in turn enables a deconstruction of master narratives of exploration, conquest, and exoticism. A reassessment of key authors of French modernity--from Nerval and Gautier to Fromentin, Paulhan, Beckett, Leiris, and Boudjedra--Paralysesalso constitutes a new theoretical intervention in debates on travel, translation, ethics, and postcoloniality.