160 THE WRETCHED OF THE EARTHON NATIONAL CULTURE161colonized intellectual, at <strong>the</strong> very moment when he undertakesa work <strong>of</strong> art, fails to realize he is using techniques and a'''''''F,uaF,'-' borrowed from <strong>the</strong> occupier. He is content to cloak<strong>the</strong>se instruments in a style that is meant to be national but whichis strangely reminiscent <strong>of</strong> exoticism. The colonized intellectualwho returns to his people through works <strong>of</strong> art behaveslike a foreigner. Sometimes he will not hesitate to use <strong>the</strong> localdialects to demonstrate his desire to be as close to<strong>the</strong> ideas he expresses,related to <strong>the</strong>lCllCl.:lUdl is preocaninventory <strong>of</strong> particularisms.people, he clings merely to a visveneer.1 hIS veneer, however, is merely a reflection <strong>of</strong> asubterranean life in perpetual renewal. This reification,which seems all too obvious and characteristic <strong>of</strong> <strong>the</strong> people, isin fact but inert, already invalidated outcome <strong>of</strong> <strong>the</strong> many,and not always coherent, adaptations <strong>of</strong> a more fundamentalsubstance beset with radical changes. Instead <strong>of</strong> seeking out thissubstance, <strong>the</strong> intellectual lets himself be mesmerized by <strong>the</strong>semummified fragments which, now consolidated, signify, on <strong>the</strong>contrary, negation, obsolescence, and fabrication. Culture neverhas <strong>the</strong> translucency <strong>of</strong> custom. Culture eminently anyform <strong>of</strong> simplification. In its essence it is <strong>the</strong> opposite <strong>of</strong>custom, which is always a deterioration <strong>of</strong> culture. Seeking tostick to tradition or reviving neglected traditions is notgoing against history, but against one's people. When a peoplestruggle against a mercilessmeaning. What was a technique"'''''H.d''\.,Cmay, in this phase, be radically doomed.an underdeveloped country undergoing armed struggleare fundamentally unstable and crisscrossed by centrifugal forces.This is why <strong>the</strong> intellectual <strong>of</strong>ten risks being out <strong>of</strong> step. Thepeoples who have waged <strong>the</strong> struggle are increasingly imperme-too closely,a vulgar opseeking tonothing bettertimes.In <strong>the</strong> field <strong>of</strong> visual arts, for example, <strong>the</strong> colonized creatorwho at all costs wants to create a work <strong>of</strong> art <strong>of</strong> national significanceconfines himself to stereotyping details. These artists,despite having been immersed in modern techniques and influencedby <strong>the</strong> major contemporary trends in painting andarchitecture, turn <strong>the</strong>ir backs on foreign culture, challenge it,and, setting out in search <strong>of</strong> <strong>the</strong> true national culture, <strong>the</strong>y givepreference to what <strong>the</strong>y think to be <strong>the</strong> abiding features <strong>of</strong> nationalart. But <strong>the</strong>se creators forget that modes <strong>of</strong> thought, diet,modern techniques <strong>of</strong> communication, language, andhave dialectically reorganized <strong>the</strong> mind <strong>of</strong> <strong>the</strong> people and<strong>the</strong> abiding features that as safeguardsnial period are in <strong>the</strong> process <strong>of</strong> undergoing enormoustransformations.This creator,paradoxically enough, to <strong>the</strong> past, and so looks at what isvant to <strong>the</strong> What he aims for in his inner intentionalityis <strong>the</strong> detritus <strong>of</strong>social thought, external appearances, relics, andknowledge in time. The colonized intellectual, however,for cultural au<strong>the</strong>nticity, must recognize that nationalis first and foremost <strong>the</strong> national reality. He must press onuntil he reaches that place <strong>of</strong> bubbling trepidation from whichknowledge willBefore independence <strong>the</strong> colonized painter was insensitive to<strong>the</strong> national landscape. He favored <strong>the</strong>refore <strong>the</strong> nonrepresentationalor, more <strong>of</strong>ten, specialized in still life. After independencehis desire to reunite with <strong>the</strong> people confines him to apoint by point representation <strong>of</strong> national reality which is flat,untroubled, motionless, reminiscent <strong>of</strong> death ra<strong>the</strong>rThe educated circles ecstatic over such careful
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OTHER WORKS BY FRANTZ FANON PUBLISH
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Foreword: Framing Fanonby Homi K. B
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xFOREWORDFOREWORDxito such a narrow
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xviFOREWORDor ancient, despite the
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xxivFOREWORDAt the level of the unc
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'.1'tPreface by Jean-Paul Sartre No
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xlviPREFACEPREFACExlviiWhat a downf
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PREFACEPREFACElicrime, they lay dow
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livPREFACEPREFACEIvAcropolis. Okay:
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IviiiPREFACEPREFACEIixll~.nothing b
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lxiiPREFACEmy fellow countrymen, yo
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2 3THE WRETCHED OF THE EARTHON VIOL
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