The Memorial ACTe

This essay examines the nature, scope and consequences of the seism of memory since its eruption in 2000 in Guadeloupe, French West Indies. In particular, it questions how the context of a multifaceted appetite for collective remembrance took the form of competing strategies for memorialization in the space. As such, it focuses on the heritage of pain, resistance and pride at the local, national and regional levels. I draw on Shalini Puri’s analysis of the repressed memory of the 1983 Grenada revolution in Operation Urgent Memory to identify in the landscape of Guadeloupe submerged, residual and eruptive ‘platforms of memory’ (Puri, 2012). In the specific case of Guadeloupe, the collective efforts of the Guadeloupean people for re-appropriating their non-French and non-European heritage on the island have turned into competitive post-traumatic approaches of the history of transatlantic slave trade. This essay eventually analyses the case of the Mémorial ACTe (MACTe) – Museum of Contemporary Caribbean Art and Memorial for the History of the Slave Trade – as constituting the most successful expression of what I define as cultural marronage, in the ambivalent postcolonial environment of the French Overseas Regions.

The Answer is Paracritical: Caribbean Literature and The Limits of Critique

I argue that both Rita Felski’s postcritical model (as articulated in The Limits of Critique) and its academic reception are made possible only by ignoring or erasing African-American and Afro-Caribbean modes of engagement with art that predate and complicate the critical-postcritical binary. To counteract the vanguardism of this trend in literary studies, I pair Caribbean philosopher-poet Edouard Glissant’s meditation on the origins of Creole speech as an indirect language of “detour” with Nathaniel Mackey’s theorizing of black art as “paracritical”—a mode that assimilates performance and critique, language and metalanguage, and that sits adjacent to (and not against or behind) traditionally academic discourses of engaging with literature. If Glissant provides the cultural and philosophical frame for an Afro-Caribbean way of reading literature, Mackey supplies the artistic metaphor par excellence of the paracritical hinge, voiced in the idioms of jazz and blues. Finally, I examine how Glissant and Mackey’s ideas find formal and aesthetic expression in Trinidadian-Canadian author Dionne Brand’s 2005 novel What We All Long For, paying attention to the reader response engendered by the adjacencies of violence, empowerment, possibility, and desire in the novel. In order to analyze What We All Long For, we must promote the liveliness and vivacity of the reading experience and put the text under ethical scrutiny, evincing the paracritical faculty that Afro-Caribbean art demands: commingling the twin pleasures of reading and interpretation, establishing a counter-hegemonic model of literary engagement that implicates the reader without stripping away reading’s pleasure.