Sixty years after the famous ‘Conférence des écrivains et artistes noirs at the Sorbonne’, and sixty years after Black-Label, the third collection of poetry by French Guianese Leon-Gontran Damas, the word “nègre” and “nigger” remain offensive words all too much used in postcolonial Europe today. Even after the short lived Obamamania, Damas’s poetry remains actual as it expresses the censorship all too many times endured by the lyrical voice who cannot speak out loud against those violent verbal, physical, and thus psychological assaults. Consequently, his “mors dans la bouche”, or “bit in the mouth” is incoporated in his less wellknown work which testifies to the “mort dans l’âme”, it is the constant feeling of depression and blues lurking on the Black or coloured citizen of France and the West Indies. Standing in the shadow of the cofounders, and quite neglected by the leading Martinicans of the post-Négritude era, Damas nevertheless understood the urgency of transcontinental and transcultural solidarities in this battle and wrote against the dichotomies of race, class, and gender. Damas (b. 1912) and James (b. 1901) knew each other for over forty years. Damas read James’s novel, Minty Alley (published in 1936) before they met in Paris when James was doing the research for The Black Jacobins (published in 1938), his landmark history of Tousssaint L’Ouverture and the revolution in the French colony of Saint-Domingue. Damas helped James with translations and discovering documents at the Bibliothèque Nationale. On one occasion, Damas brought James to the home of Robert Desnos. Both lived in Washington, DC, in the 1970s when Damas was at Howard University and James taught at Federal City College/University of the District of Columbia.

This paper examines the discourse of white supremacy in the intellectual history and socio-historical development in the nation of Colombia. In particular, it focuses on the period after the gaining of political independence from Spain in 1819. Further, the paper focuses on the texts of two writers who spanned late nineteenth and early twentieth centuries. These writers are Miguel Jiménez López and Luis López de Mesa. The paper develops in detail the white supremacist discourses of these two writers, along with their views of the indigenous people of Colombia, the mestizos, and the Africans who were imported as slaves and racialized as Blacks. Finally, the paper examines the pro-white immigration policies of the authors, which they believed would improve the intelligence, the entrepreneurial capability and beauty of Colombia, and thus its prospects for development.

Harold Sonny Ladoo’s 1972 novel No Pain Like This Body has been analyzed for its seminal representation of the traumas experienced by a formerly indentured Indo-Trinidadian family in the early twentieth century. However, relatively little attention has been given to Ladoo’s experimentation with multiple languages, particularly English, Trinidadian Creole, and Hindi. This article argues that Ladoo’s multilingualism offers a guide for approaching the traumatic experiences he represents. While some aspects of the novel, such as its glossary, make the characters’ language more comprehensible, others, such as the orthography Ladoo chooses to represent Creole speech, deliberately distance the reader. Using decolonial theorists of language, particularly Édouard Glissant's writing on multi­lingualism and opacity, this article considers Ladoo’s use of multilingualism both as a limit to readers’ understanding as well as an invitation to continued engagement with those aspects of the text that are resistant to easy comprehension. This article contrasts opacity as a reading methodology with some of the dominant paradigms for understanding linguistic difference in the field of comparative literature, which rely on linguistic and textual mastery. Ultimately, the article proposes reading multilingual texts through opacity as a model for decolonial reading in which creative, active engagement with the text can produce solidarity without requiring complete transparency.

René Ménil (1907–2004) was a renowned Martinican essayist, critic, and philosopher who, along with Aimé Césaire, Frantz Fanon, and Edouard Glissant, left an indelible mark on the Franco-Caribbean world of letters and intellectual thought. Ménil saw in surrealism a critical framework, a means to the specific end of exploring and expressing the specificities of the Martinican condition. Ménil assessed Martinique’s pre-war psychological condition through the telling metaphor of relative exoticism, pointing clearly to the typically unacknowledged fact that the exotic is a slippery signifier, dependent on perspective, distance and location. If the core of these conditions were to be recognized and contested, it would have to be addressed at its root, and here, there was no question for him but that colonialism was ultimately enabled by capitalism and its corollaries of avarice and accumulation. His editorship of the journal Tropiquesconstituted cultural combat. Ménil’s thought and writing were arguably aimed at achieving universality out of particularity, and so he eventually broke with Césaire—and more specifically with Senghor—over several key tenets in the Negritude platform, arguing for the actual existence of a Martinican culture. Marxism for Ménil offers a corrective to the perceived shortcomings of Negritude’s political aesthetics, namely its historical blind spots and its foregrounding of mythologized black unity at the expense of class struggle.