Repenser sur l'environnement: Une étude écocritique dans Gouverneurs de la rosée de Jacques Roumain, Moi, Tituba sorcière… noire de Salem de Maryse Condé et L'Exil selon Julia de Gisèle Pineau

From the Stockholm conference in Sweden in 1972 to the Chile conference that will take place from 2 to 14 December 2019, the environmental debate provoked by environmental challenges such as climate change continues to be in full swing in all these international meetings. It is obvious that it is an attempt to meet the millennial demands represented by the consequences of climate change such as drought, flood and hurricane among others that ravage not just the West Indian world but humanity in general. It is also true that for some time now, environmental affairs are no longer those of just environmentalists or geographers, writers and literary critics have also stepped up to the scene in protection of the environment. Therefore, this article aims to analyse through ecocritical theory the place of the environment in Jacques Roumain's Gouverneurs de la rosée, Maryse Condé's Moi, Tituba sorciere... noire de Salem and Gisèle Pineau's L'Exil selon Julia. To what extent these writers care for the well-being of the environment? In what way? What are the perspectives of the future advocated by these writers?

Revisiting the Past in the Age of Posts: Rememory in Toni Morrison’s God Help the Child and Gisèle Pineau’s Femmes des Antilles

In this article, I examine how Toni Morrison and Gisèle Pineau provide timely pieces against the historical amnesia characteristic of post-racial discourse in the USA and in France. Studying Morrison’s God Help the Child (2015) and Pineau’s Femmes des Antilles: Traces et Voix (1998) side by side reveals how Morrison’s rememory is a global concept as pertinent today as when first coined in Beloved (1987). The term’s original use in the context of slavery also suggests a lens through which to read Morrison’s non-slavery era works like God Help the Child. What ultimately comes to the fore in both authors’ potent expositions of the specter of slavery haunting black women in the USA, France, and the West Indies is a rejection of historical silencing.