Browsing by Author "Dubois, Laurent M"

In my thesis, “Commandeering Aesop’s Bamboo Canon: A 19th Century Confederacy of Creole Fugitive Fables,” I ask and answer the ‘Who? What? Where? When? Why?” of Creole Literature using the 19th century production of Aesopian fables as clues to resolve a set of linguistic, historical, literary, and geographical enigmas pertaining the ‘birth-place(s)’ of Creolophone Literatures in the Caribbean Sea, North and South America, as well as the Indian Ocean. Focusing on the fables in Martinique (1846), Reunion Island (1826), and Mauritius (1822), my thesis should read be as an attempt capture the links between these islands through the creation of a particular archive defined as a cartulary-chronicle, a diplomatic codex, or simply a map in which I chart and trace the flight of the founding documents relating to the lives of the individual authors, editors, and printers in order to illustrate the articulation of a formal and informal confederation that enabled the global and local institutional promotion of Creole Literature. While I integrate various genres and multi-polar networks between the authors of this 19th century canon comprised of sacred and secular texts such as proclamations, catechisms, and proverbs, the principle literary genre charted in my thesis are collections of fables inspired by French 17th century French Classical fabulist, Jean de la Fontaine. Often described as the ‘matrix’ of Creolophone Literature, these blues and fables constitute the base of the canon, and are usually described as either ‘translated,’ ‘adapted,’ and even ‘cross-dressed’ into Creole in all of the French Creolophone spaces. My documentation of their transnational sprouting offers proof of an opaque canonical formation of Creole popular literature. By constituting this archive, I emphasize the fact that despite 200 years of critical reception and major developments and discoveries on behalf of Creole language pedagogues, literary scholars, linguists, historians, librarians, archivist, and museum curators, up until now not only have none have curated this literature as a formal canon. I also offer new empirical evidence in order to try and solve the enigma of “How?” the fables materially circulated between the islands, and seek to come to terms with the anonymous nature of the texts, some of which were published under pseudonyms. I argue that part of the confusion on the part of scholars has been the result of being willfully taken by surprise or defrauded by the authors, or ‘bamboozled’ as I put it. The major paradigmatic shift in my thesis is that while I acknowledge La Fontaine as the base of this literary canon, I ultimately bypass him to trace the ancient literary genealogy of fables to the infamous Aesop the Phrygian, whose biography – the first of a slave in the history of the world – and subsequent use of fables reflects a ‘hidden transcript’ of ‘masked political critique’ between ‘master and slave classes’ in the 4th Century B.C.E. Greece.

This archive draws on, connects and critiques the methodologies of several disciplinary fields. I use post-colonial literary studies to map the literary genealogies Aesop; use a comparative historical approach to the abolitions of slavery in both the 19th century Caribbean and the Indian Ocean; and chart the early appearance of folk music in early colonial societies through Musicology and Performance Studies. Through the use of Sociolinguistics and theories of language revival, ecology, and change, I develop an approach of ‘reflexive Creolistics’ that I ultimately hope will offer new educational opportunities to Creole speakers. While it is my desire that this archive serves linguists, book collectors, and historians for further scientific inquiry into the innate international nature of Creole language, I also hope that this innovative material defense and illustration of Creole Literature will transform the consciousness of Creolophones (native and non-native) who too remain ‘bamboozled’ by the archive. My goal is to erase the ‘unthinkability’ of the existence of this ancient maritime creole literary canon from the collective cultural imaginary of readers around the globe.

This dissertation employs a diasporic framework to study the intersections of race, religion, and nationalism in Dominican society. It argues that in a country where elites have used state power and historiography to define national identity as Catholic, Spanish, and white, Protestant history reveals non-Catholic religious ties between Dominicans, African Americans, Haitians, and West Indians and offers a counter framework for understanding the Dominican Republic within the African Diaspora. Using church records, newspapers, and court cases, it examines the biographies of Afro-descended religious leaders, tracing their movements throughout the Caribbean and the United States at the end of the nineteenth century. It reveals how African Americans and Afro-Caribbeans imagined themselves, interacted with each other, and articulated various racial, religious, and political identities. Ultimately, this dissertation demonstrates that black Protestants’ religious beliefs provided an ideological basis for Afro-diasporic endeavors such as A.M.E. missions in the Caribbean. Despite these ties, anti-American sentiment in the Dominican Republic, poverty among black migrants, and public scandal limited the growth of black Protestantism in the Dominican Republic. These factors resulted in the social marginalization of the diasporic black church.

This dissertation examines the emergence of Far West adventure tales in France across the second colonial empire (1830-1962) and their reigning popularity in the field of Franco-Belgian bande dessinée (BD), or comics, in the era of decolonization. In contrast to scholars who situate popular genres outside of political thinking, or conversely read the “messages” of popular and especially children’s literatures homogeneously as ideology, I argue that BD adventures, including Westerns, engaged openly and variously with contemporary geopolitical conflicts. Chapter 1 relates the early popularity of wilderness and desert stories in both the United States and France to shared histories and myths of territorial expansion, colonization, and settlement. Across the nineteenth century, as the United States acquired territories west of the Mississippi and assembled its continental empire, France annexed and incorporated Algeria as “national” space and expanded its second colonial empire into Africa and Asia. I show that tales of white heroics in dramatic frontier landscapes traveled between and across both empires and served the colonizing and civilizing missions of both. Chapter 2 charts the emergence of the Western genre on both sides of the Atlantic at the turn of the twentieth century and its conquest of French audiences by the interwar period. I demonstrate how Western storylines across media – in fiction, in the arena, in comics, and on screen – responded to shifting sentiment in America and France regarding past conquests, the livability of the industrial present, and the viability of colonial rule. Chapter 3 argues that BD adventures from the late 1940s to the early 1960s, including Westerns, worked through the challenges, legacies, and impasses of empire-building and colonization, even as censorship in France during the Algerian war of independence levied content restrictions on the children’s press. Moral referenda on comics in general steered the adventure into “acceptable” territory, which for the overlapping postwar, Cold War, decolonizing periods meant future-oriented stories in which cowboy heroes far from home played out the winning of the “West” across France’s own frontiers in Africa and Asia. My final chapter takes up BD Westerns published in France across the final decades of empire. I argue that tales of cowboys and Indians both circumvented censure and provided adolescents with a variety of ways to think within and beyond empire by displacing contemporary concerns about the wars in Indochina and Algeria onto the mythico-historical context of the settling of the American West. Using key examples from Sitting Bull, Jerry Spring, and Blueberry, I show that realist Westerns invited young baby boomers to envision different futures for France, explore taboo subjects, and work through contested histories and memories of colonial occupation in ways that colonizer tales set in Africa did not.

This dissertation centers on Antillean women’s brushes with the French colonial state in nineteenth-century Martinique and Guadeloupe. It argues that while nineteenth-century French Caribbean of African descent women were, by and large, ignored by colonial authorities—unsurprisingly, considered less-than-citizens and, more surprisingly, seldom targeted for or involved in interventions aimed at ‘moral uplift’—they found myriad ways to enact citizenship and forms of belonging. Close analysis of women’s encounters with colonial power in the French Antilles reveals the ways in which gender shaped the contours of women’s political subjectivities. Anchored and intervening in the broad, overlapping fields of Caribbean history, French imperial history, women’s and gender history, and labor history, this dissertation examines subaltern women’s political praxis as they engaged in the realm of reproduction writ large in the midst of their work in both plantation labor and non-plantation waged labor. I argue that, through these engagements, women often offered visions of home and citizenship that transcended the commodifying logics of slavery, racial capitalism, and colonialism.

“Mapping Manioc” looks in the ground, taking the dense, starchy, and lively materiality of a root tuber as a lens through which to read human relations of domination and reciprocity in the French colonial Caribbean. Borrowing fertile and intersecting methodologies from French and Francophone studies, Africana studies, ecopoetics, decolonial ecologies, food studies, geography, historical anthropology, and history of science, the project divests the vegetal of its connotations of lethargy to frame the manioc root as an active “plant witness” to historical tensions between colonial exploitation and practices of earth-based sustenance. In dialogue with anglophone theorists of the “Plantationocene,” recent criticism from France’s Outre-mer regions contends that present-day extractivist paradigms producing differential vulnerability to environmental harms stem from the racial taxonomies of plantation societies. This dissertation returns to the epochal shifts at the heart of French colonization in the Caribbean to uncover how one plant was harnessed to feed both the plantation’s devaluation of life and thriving configurations of human and nonhuman being beyond its reach.“Mapping Manioc” relies on a reading practice that breaches the surface of colonial archives to excavate the frictions between Indigenous and Afro/descended peoples’ nonextractive relations with a nurturing earth, on the one hand, and the exploitation of manioc’s carbohydrate calories to fuel settler colonialism and chattel slavery, on the other. This corpus attuned to plant liveliness spans a long eighteenth century, and consists of missionary accounts by Raymond Breton, Jean-Baptiste Labat, and others; lay travel narratives such as that of the anonymous mariner of Carpentras; botanical treatises and natural histories by figures like Guillaume Silvestre Delahaye; planters’ manuals, ships’ logbooks, habitation daybooks, and legal ordinances; and visual materials including engravings, watercolors, "plans d’habitation," and cartography. To evoke counterhistorical visions of human freedoms grounded in ecological flourishing, the project interweaves the colonial archive with Caribbean and Black feminist theorizations of geography and subjectivation; with perspectives from anthropology “beyond the human” and sensory ethnobotany; and with Caribbean literary and visual engagements, including novels by Édouard Glissant. Engaging these sources and artifacts, “Mapping Manioc” tracks embodied meetings of skin and starch across colonial Martinique, Guadeloupe, Saint-Domingue, and French Guiana. This approach routes ancestral life through plant life, attending to the patterns of existence of subjects who forged solidarities with nonhuman beings against plantation epistemologies and their devastating afterlives. By illuminating a genealogy of earthy resistance to colonial extractivism and dispossession, the project points to the role of ancestral food plants in resurgence, solidarity, and self-determination in the Outre-mers, foregrounding the contributions of French and Francophone studies to planetary climate justice, Caribbean climate resilience, and climate cuisine movements.

This dissertation examines a series of novels by Aminata Zaaria, Ken Bugul, Gaston-Paul Effa, Boubacar Boris Diop and Yolande Mukagasana. At the heart of my study is a problem that haunts much literary production and literary criticism about post-colonial Francophone African writing: the layers of distance and misunderstanding that often exist between readers and writers. Several of the authors in this study express frustration at the limited expectations that readers have of them, complaining that readers outside of the continent continue to read their novels solely in order to gain a grasp of socio-political "realities" of Africa. I propose a return to a select group of author's largely semi-autobiographical texts in order to better understand each writer's individual literary projects within the interdisciplinary framework of trauma studies. Interviews that I conducted with Senegalese and Cameroonian publishing directors, psychologists, sociologists and authors themselves offer an analysis of these texts within the context of broader social debates.

My first chapter focuses on Zaaria's La Nuit est tombée sur Dakar (2004) and Bugul's Le Baobab Fou (1983) and Cendres et Braises (1995) in order to examine intergenerational Senegalese semi-autobiographical representations of prostitution. My study ultimately finds that neither Senegalese society nor Zaaria and Bugul's narratives evidence healing through writing. Rather, both present literature as a "default" chosen because the authors found no one with whom they could initially share their stories face-to-face. Chapter Two hones in on Bugul's relationship with her mother, a painful theme revisited from one end of Bugul's semi-autobiographical oeuvre (Le Baobab Fou, 1982) to the other (De l'autre côté du regard, 2002). Chapter Three examines the trauma of parental loss in Gaston-Paul Effa's semi-autobiographical works, from Tout ce bleu (1996) to a more recent novel (Nous, les enfants de la tradition, 2008) in order to examine the evolution of Effa's personal identity quest and his extensive self-analysis over time in light of the author's permanent exile in France. My fourth chapter begins with a study of genocide survivor Yolande Mukagasana's recent narrative entitled N'aie pas peur de savoir (1999) in order to examine author/reader relationships in light of the often inconceivable trauma of genocide. I then move on to consider the ethics of speaking "for" genocide survivors by analyzing the well-known Senegalese author Boubacar Boris Diop's Murambi, le livre des ossements (2000) and the related Fest'Africa project. I end Chapter Four with a critique of Etoke's Melancholia africana: l'indéspensable dépassement de la condition noire (2010) in order to question whether or not sweeping theories of the various traumas experienced by members of Africa and its diaspora are in fact helpful in every context. Finally, I end my study with Effa's Voici le dernier jour du monde, which exhibits the interplay between autobiography, biography, fiction and the issue of literary violence.

I ultimately argue that a major difference between the "talking cure" of psychoanalysis and the process of seeking healing through literary narratives involves the question of audience. In the case of Sub-Saharan African literature, the author/reader relationship does not necessarily provide a safe space akin to the doctor/patient model in Freud's "talking cure." Therefore, I ultimately call for a closer analysis of the myriad ways by which authors are seeking healing and answers outside the realm of literature.

This dissertation examines Haiti's crucial role in the re-making of the Atlantic World in the early 19th century. The point of departure for this work is Haiti's Declaration of Independence in 1804 and my research explores how events in Haiti raised profound questions about revolutionary legitimacy and national sovereignty. The emergence of Haiti as an independent nation fueled unprecedented international debates about racial hierarchy, the connections between freedom and sovereignty, and the intertwining of ideological and political relationships among nations and empires. While these debates came to be resolved in part during the next two centuries, they remain alive today both for specific nations and for the international community.

“The City and the State: Construction and the Politics of Dictatorship in Haiti (1957-1986)” charts a new history of place-making in the Caribbean. It analyzes construction practices in the Haitian capital of Port-au-Prince—ranging from slum clearance, transportation infrastructure, to the political economy of cement—to reveal the multifaceted relationship between the Duvalier dictatorship and rapid urban transformation in the mid-20th century. It argues that through the patterns and practices of building Port-au-Prince, the social, political and economic dimensions of the Duvalier regime became embedded in material space of the city. At the same time, the nature of these spatial and material changes informed the regime’s tumultuous internal dynamics. This thesis also situates these intertwined themes within a broader context of uneven geographies of power produced through the country’s long transition from slavery to freedom.

In my dissertation, "The Kongolese Atlantic: Central African Slavery & Culture from Mayombe to Haiti," I investigate the cultural history of West Central African slavery at the height of the trans-Atlantic slave trade, the late eighteenth century. My research focuses on the Loango Coast, a region that has received little scholarly attention despite the fact that it was responsible for roughly half of slave exports from West Central Africa at the time. The goal of my dissertation is to understand how enslaved Kongolese men and women used cultural practices to mediate the experience of slavery on both sides of the Atlantic world. To do so, I follow captives from their point of origin in West Central Africa to the Loango Coast and finally to the French colony of Saint Domingue in order to examine these areas as part of a larger "Kongolese Atlantic" world.

My dissertation begins by exploring the social and political history of the slave trade in the Loango Coast kingdoms, charting the structural changes that took place as a result of Atlantic trade. Next, I use historical linguistics to investigate the origins of captives sold on the Loango Coast. I find that the majority of captives came broadly from the Kongo zone, specifically from the Mayombe rainforest and Loango Coast kingdoms north of the River Congo. I then use a sociolinguistic methodology to reconstruct the cultural history of those groups in the near-absence of written documents. In the last chapter of the dissertation, I follow enslaved Central Africans from the Loango Coast to Saint Domingue, examining how they used specific and identifiable north coast cultural practices in the context of slavery. I find enslaved Central Africans used north coast spiritual tools such as divination, possession, trance, and power objects to address the material problems of plantation life. Finally, I argue the persistence of these spiritual practices demonstrates a remarkable durability of Kongolese ontology on both sides of the Kongolese Atlantic world.

My research produces new information about the history of the Loango Coast as well as the colony of Saint Domingue. The north coast origin of captives which I establish using historical linguistics contradicts earlier arguments that slaves traded on the Loango Coast originated from Kingdom of Kongo or from the inland Malebo Pool or Upper River Congo trade. I show inhabitants of the coastal kingdoms and Mayombe rainforest were not mere middlemen in the interior slave trade as previously thought, but were the victims of new mechanisms of enslavement created as a result of the erosion of traditional political institutions due to the trans-Atlantic slave trade. The north coast origin of Loango Coast captives has repercussions for the cultural history of the Americas. It means that captives were not "Atlantic Creoles" with prior knowledge of European culture and religion. I argue historians can only understand the meaning of the cultural practices of Africans in the Americas by understanding where Africans came from and what cultural and linguistic tools they brought with them. The use and transmission of Kongolese ritual knowledge and spiritual technologies in Saint Domingue challenges historians of slavery to move beyond the false dichotomy that culture originated in either Africa or on the plantation and forces a fundamental reassessment of the concept of creolization.

This dissertation uses Haitian-Canadian writer Dany Laferrière’s transnational trajectory as a focal point for a study of the relationship between literature, marketing, power, and creative agency. It analyzes Laferrière’s literary career over the span of thirty years (1985-2018), his portrayal in the press and his work’s packaging and reception in the three places the author has been published in the original French language: Quebec, France, and Haiti. Located at the intersection of cultural studies, literary theory, and postcolonial studies, my study explores the ways in which global migration has changed literary production and consumption, and shaped ideas about nationalism. In this analysis, I argue that Laferrière contributed to reshaping national definitions of literature in all three spaces, and that his work’s marketing and reception have revealed political, social, and cultural changes as well as manifestations of identity politics in all three contexts. Through combined analysis of Laferrière’s novels, film adaptations, interviews in the press, book covers, as well as personal interviews that I conducted with his publishers, this study offers a holistic analysis of the cultural, political, and economic dimensions of literary production and circulation in the French-speaking world and contiguous languages like Haitian Creole. Drawing from Laferrière’s packaging in Quebec and France, the study sheds a new light on the way images of Haiti are constructed in the Western imaginary and how paratext mediates discourses about Caribbean writers. Through the study of the writer’s Haitian publication and Creole translation, my work also offers critical insights into the dynamic power of the Haitian book industry, which scholars have largely overlooked. Finally, by tracing the various factors that enabled Laferrière to emerge and paying particular attention to his recent election to the French Academy, this dissertation illuminates the mechanisms of literary consecration as well as his own creative “trickster” strategy to position himself in the global marketplace. Ultimately, I argue that Laferrière’s transnational trajectory offers a unique lens into the interconnected relationships between literature, markets, postcolonial authors, and nationalism.