164 THE WRETCHED OF THE EARTHON NATIONAL CULTURE165in rags were driving <strong>the</strong>ir flocks down to <strong>the</strong> valley to <strong>the</strong> sound <strong>of</strong><strong>the</strong>irflutes. The young girls, carrying <strong>the</strong>ir water pots on <strong>the</strong>ir heads, wound<strong>the</strong>ir way in single file to <strong>the</strong> well. In <strong>the</strong> marabout's compound a group<strong>of</strong> children were chanting in unison verses from <strong>the</strong> Koran.(Guitar music)It was dawn. The combat between day and night. Exhausted from<strong>the</strong> struggle <strong>the</strong> night slowly brea<strong>the</strong>d its last sigh. A few rays <strong>of</strong> sun heralding<strong>the</strong> victory <strong>of</strong> daylight hovered timid and pale on <strong>the</strong> horizonwhile <strong>the</strong> last stars slipped under a bank <strong>of</strong> clouds <strong>the</strong> color <strong>of</strong> flametrees in flower.(Guitar music)It was dawn. And <strong>the</strong>re at <strong>the</strong> edge <strong>of</strong> <strong>the</strong> vast, purple-contoured plainwas <strong>the</strong> silhouette <strong>of</strong> a man bent over as he cleared <strong>the</strong> ground: <strong>the</strong> silhouette<strong>of</strong>Naman, <strong>the</strong> peasant farmer. Every time he wielded his hoe,a frightened flock <strong>of</strong> birds flew up and swiftly made <strong>the</strong>ir way to <strong>the</strong>peaceful banks <strong>of</strong><strong>the</strong> Joliba, <strong>the</strong> great Niger river. His grey cotton trousers,soaked in dew, brushed <strong>the</strong> grass on ei<strong>the</strong>r side. Sweating, untiring,constantly bent, he skilfully worked with his hoe for his seeds hadto be sown before <strong>the</strong> next rains.(Kora music)It was dawn. Dawn was still breaking. The millet birds flitted among<strong>the</strong> foliage announcing <strong>the</strong> coming day. A child carrying over hisshoulder a small bag <strong>of</strong> arrows was running out <strong>of</strong> breath along<strong>the</strong> damp track over <strong>the</strong> plain in <strong>the</strong> direction <strong>of</strong> Naman. "Bro<strong>the</strong>rNaman," he called, "<strong>the</strong> head <strong>of</strong> <strong>the</strong> village wants you under <strong>the</strong>palaver tree."(Kora music)Surprised at such an early summons, Naman laid down his hoe andwalked towards <strong>the</strong> village which now shone in <strong>the</strong> glow <strong>of</strong> <strong>the</strong> risingsun. The elders, looking more solemn than ever, were already seated.Beside <strong>the</strong>m was a man in uniform, a district guard quietly smokinghis pipe unperturbed.(Kora music)Naman sat down on a sheepskin. The griot <strong>of</strong> <strong>the</strong> village head stoodup to convey to <strong>the</strong> assembly <strong>the</strong> elders' decision: "The whites have senta district guard to request that a man from <strong>the</strong> village be sent to fight in<strong>the</strong> war in <strong>the</strong>ir country. After deliberating, <strong>the</strong> elders have decided tosend <strong>the</strong> young man who best represents our race so that he can proveto <strong>the</strong> white man <strong>the</strong> courage which we Mandingos have always beenknown for."(Guitar music)Naman, whose imposing build and muscular frame were <strong>the</strong> subject<strong>of</strong> nightly songs by <strong>the</strong> young girls <strong>of</strong><strong>the</strong> village, was chosen unanimously.Gentle Kadia, his young wife, distraught by <strong>the</strong> news, suddenly stoppedher pounding, placed <strong>the</strong> mortar under <strong>the</strong> granary, and without sayinga word, shut herself up in her hut to weep in muffled sobs over her misfortune.Since death had taken her first husband, she could not believethat <strong>the</strong> whites would take Naman in whom she had placed all her hopes.(Guitar music)The next morning, in spite <strong>of</strong> her tears and lamentations, <strong>the</strong> solemnbeat <strong>of</strong> <strong>the</strong> war drums accompanied Naman to <strong>the</strong> little villageharbor where he boarded a barge headed for <strong>the</strong> district capital. Thatnight, instead <strong>of</strong> dancing in <strong>the</strong> open as usual, <strong>the</strong> young girls came tokeep watch in Naman's antechamber where <strong>the</strong>y told <strong>the</strong>ir tales arounda wood fire until morning.(Guitar music)Several months went by without news from Naman. Little Kadiabecame so worried she went to consult <strong>the</strong> fetish priest in <strong>the</strong> neighboringvillage. Even <strong>the</strong> elders met in secret counsel on <strong>the</strong> subject,but nothing came <strong>of</strong> it.(Kora music)At last one day a letter arrived addressed to Kadia. Concerned abou<strong>the</strong>r husband's situation she left that night and after walking for manylong hours arrived in <strong>the</strong> district capital where a translator read herletter.Naman was in North Africa in good health and was asking for news<strong>of</strong> <strong>the</strong> harvest, <strong>the</strong> fishing festival, <strong>the</strong> dances, <strong>the</strong> palaver tree and <strong>the</strong>village ...(Balafon)That night <strong>the</strong> old women <strong>of</strong> <strong>the</strong> village allowed <strong>the</strong> young Kadia toattend <strong>the</strong>ir traditional evening palaver in <strong>the</strong> compound <strong>of</strong> <strong>the</strong>ir mostsenior member. The village head, overjoyed at <strong>the</strong> news, <strong>of</strong>fered a hugebanquet to all <strong>the</strong> beggars in <strong>the</strong> neighborhood.(Balafon)Several months went by once more and everyone became anxiousagain for <strong>the</strong>re was still no news <strong>of</strong>Naman. Kadia was planning on going
..........==-"'"'--'--~-~~----.-~~~.""".-.,,~ """""T/·"!'.,."....~*.".~"'ff'r:-'"',\'f· 'Tr-~··--'{ - m r- t' '-Whf't';'", '., 'F'166 THE WRETCHED OF THE EARTHON NATIONAL CULTURE167to consult <strong>the</strong> fetish priest again when she received a second letter. AfterCorsica and Italy Naman was now in Germany and was proud <strong>of</strong>havingbeen decorated.(Balafon)The next time it was just a card which said that Naman had beentaken prisoner by <strong>the</strong> Germans. This news threw <strong>the</strong> village into consternation.The elders held counsel and decided that henceforth Namanwas authorized to dance <strong>the</strong> Douga, <strong>the</strong> sacred dance <strong>of</strong> <strong>the</strong> vulture,reserved for those who had performed an exceptional feat, <strong>the</strong> dance <strong>of</strong><strong>the</strong> Mandingo emperors whose every step represents a period in <strong>the</strong>history <strong>of</strong> Mali. Kadia found consolation in seeing her husband raisedto <strong>the</strong> dignity <strong>of</strong> a national hero.(Guitar music)Time went by.... One year followed <strong>the</strong> next ... Naman was stillin Germany. He no longer wrote.(Guitar music)One day <strong>the</strong> head <strong>of</strong> <strong>the</strong> village received word from Dakar thatNaman would soon be home.Immediately <strong>the</strong> drums began to beat. They danced and sang untildawn. The young girls composed new songs to welcome him for <strong>the</strong>ones dedicated to him made no mention <strong>of</strong><strong>the</strong> Douga, that famousdance <strong>of</strong> <strong>the</strong> Mandingos.(Drums)But one month later Corporal Moussa, a great friend <strong>of</strong> Naman's,sent this tragic letter to Kadia: "It was dawn. We were at Tiaroye-surMer. In <strong>the</strong> course <strong>of</strong> a major dispute between us and our white chiefsin Dakar, a bullet struck Naman. He lies in Senegalese soil."(Guitar music)In fact it was dawn. The first rays <strong>of</strong> <strong>the</strong> sun lightly brushing <strong>the</strong> surface<strong>of</strong> <strong>the</strong> sea tipped <strong>the</strong> little foam-flecked waves with gold. Stirred by<strong>the</strong> breeze <strong>the</strong> palm trees gently bent <strong>the</strong>ir trunks towards tlle ocean asif sickened by this morning's battle. The noisy flocks <strong>of</strong> crows cawed to<strong>the</strong> neighborhood <strong>the</strong> news <strong>of</strong><strong>the</strong> tragedy which had bloodied <strong>the</strong> dawnat Tiaroye .... And in <strong>the</strong> scorched blue <strong>of</strong><strong>the</strong> sky, right above <strong>the</strong>Naman, a gigantic vulture slowly hovered. It seemed to say to him:"Naman! You have not danced <strong>the</strong> dance that bears my name. O<strong>the</strong>rswill dance it."(Kora music)The reason I have chosen this long poem is because <strong>of</strong> itsundeniable pedagogical value. Here things are clear. It is ameticulous account that develops progressively. Understanding<strong>the</strong> poem is not only an intellectual act, but also a political one.To understand this poem is to understand <strong>the</strong> role we have toplay, to identify our approach and prepare to fight. There is notone colonized subject who will not understand <strong>the</strong> message inthis poem. Naman, hero <strong>of</strong> <strong>the</strong> battlefields <strong>of</strong> Europe, Namanwho vouched for <strong>the</strong> power and <strong>the</strong> continuity <strong>of</strong> <strong>the</strong> metropolis,Naman mowed down by <strong>the</strong> police at <strong>the</strong> very moment he returnshome; this is Setif in 1945, F ort-de-France, Saigon, Dakar, andLagos. All <strong>the</strong> "niggers" and all <strong>the</strong> "filthy Arabs" who fought todefend France's liberty or British civilization will recognize<strong>the</strong>mselves in this poem by Keita Fodeba.But Keita Fodeba sees fur<strong>the</strong>r. Mter having utilized <strong>the</strong> nativepeoples on its battle fields, colonialism uses <strong>the</strong>m as veteransin its colonies to break up <strong>the</strong> independence movement. Theveterans associations in <strong>the</strong> colonies are some <strong>of</strong> <strong>the</strong> mostnationalist forces that exist. The poet Keita Fodeba was preparing<strong>the</strong> minister for internal affairs <strong>of</strong> <strong>the</strong> Republic <strong>of</strong> Guinea tothwart <strong>the</strong> plots organized by French colonialism. It was in factwith <strong>the</strong> help <strong>of</strong> <strong>the</strong> veterans that <strong>the</strong> French secret service intended,among o<strong>the</strong>r things, to bring down <strong>the</strong> newly independentGuinea.When <strong>the</strong> colonized intellectual writing for his people uses<strong>the</strong> past he must do so with <strong>the</strong> intention <strong>of</strong> opening up <strong>the</strong> future,<strong>of</strong> spurring <strong>the</strong>m into action and fostering hope. But in orderto secure hope, in order to give it substance, he must take partin <strong>the</strong> action and commit himself body and soul to <strong>the</strong> nationalstruggle. You can talk about anything you like, but when it comesto talking about that one thing in a man's life that involves openingup new horizons, enlightening your country and standingtall alongside your own people, <strong>the</strong>n muscle power is required.
- Page 1 and 2:
OTHER WORKS BY FRANTZ FANON PUBLISH
- Page 3 and 4:
Foreword: Framing Fanonby Homi K. B
- Page 5 and 6:
xFOREWORDFOREWORDxito such a narrow
- Page 8 and 9:
xviFOREWORDor ancient, despite the
- Page 10 and 11:
xxfOREWORDfOREWORDxxiperson is seen
- Page 12 and 13:
xxivFOREWORDAt the level of the unc
- Page 14 and 15:
".~~....."'""".=,~_ + ............
- Page 16 and 17:
xxxiiFOREWORDFOREWORDxxxiiimorehave
- Page 18:
," 'ffTiM"r;sxxxviFOREWORDFOREWOR
- Page 21 and 22:
'.1'tPreface by Jean-Paul Sartre No
- Page 23 and 24:
xlviPREFACEPREFACExlviiWhat a downf
- Page 25 and 26:
PREFACEPREFACElicrime, they lay dow
- Page 27 and 28:
livPREFACEPREFACEIvAcropolis. Okay:
- Page 29 and 30:
IviiiPREFACEPREFACEIixll~.nothing b
- Page 31 and 32:
lxiiPREFACEmy fellow countrymen, yo
- Page 33 and 34:
2 3THE WRETCHED OF THE EARTHON VIOL
- Page 35 and 36:
6 THE WRETCHED OF THE EARTHON VIOLE
- Page 37 and 38:
10 THE WRETCHED OF THE EARTHON VIOL
- Page 39 and 40:
14 THE WRETCHED OF THE EARTHON VIOL
- Page 41 and 42:
18 THE WRETCHED OF THE EARTHON ViOL
- Page 43 and 44:
L.......-~..." ..._22 THE WRETCHED
- Page 45 and 46:
26THE WRETCHED OF THE EARTHON VIOLE
- Page 47 and 48:
30 THE WRETCHED OF THE EARTHfor cal
- Page 49 and 50:
34THE WRETCHED OF THE EARTHON VIOLE
- Page 51 and 52:
38THE WRETCHED OF THE EARTHON VIOLE
- Page 53 and 54:
42 THE WRETCHED OF THE EARTHON VIOL
- Page 55 and 56:
.,., . n~·· ·"'4 +7rf,;ifeii h ;
- Page 57 and 58:
50 THE WRETCHED OF THE EARTHON VIOL
- Page 59 and 60:
54 THE WRETCHED OF THE EARTHcapital
- Page 61 and 62:
58 THE WRETCHED OF THE EARTHON VIOL
- Page 63 and 64:
62 THE WRETCHED OF THE EARTHgovernm
- Page 65 and 66: 66THE WRETCHED OF THE EARTHGRANDEUR
- Page 67 and 68: 70THE WRETCHED OF THE EARTHGRANDEUR
- Page 69 and 70: 74 THE WRETCHED OF THE EARTHGRANDEU
- Page 71 and 72: 78THE WRETCHED OF THE EARTHGRANDEUR
- Page 73 and 74: 82THE WRETCHED OF THE EARTHGRANDEUR
- Page 75 and 76: 86 THE WRETCHED OF THE EARTHGRANDEU
- Page 77 and 78: 90 THE WRETCHED OF THE EARTHGRANDEU
- Page 79 and 80: 94THE WRETCHED OF THE EARTHGRANDEUR
- Page 81 and 82: 98 THE WRETCHED OF THE EARTHto rati
- Page 83 and 84: 102THE WRETCHED OF THE EARTHTHE TRI
- Page 85 and 86: 106THE WRETCHED OF THE EARTHTHE TRI
- Page 87 and 88: 110 THE WRETCHED OF THE EARTHdespis
- Page 89 and 90: 114 THE WRETCHED OF THE EARTH THE T
- Page 91 and 92: 116 THE WRETCHED OF THE EARTHappoin
- Page 93 and 94: 120 THE WRETCHED OF THE EARTH* * *b
- Page 95 and 96: 124THE WRETCHED OF THE EARTHTHE TRI
- Page 97 and 98: 126THE WRETCHED OF THE EARTHTHE TRI
- Page 99 and 100: 130 THE WRETCHED OF THE EARTHbureau
- Page 101 and 102: 134 THE WRETCHED OF THE EARTHlentil
- Page 103 and 104: 138 THE WRETCHED OF THE EARTHOnce a
- Page 105 and 106: 142 THE WRETCHED OF THE EARTHquickl
- Page 107 and 108: tm'146 THE WRETCHED OF THE EARTHON
- Page 109 and 110: 150 THE WRETCHED OF THE EARTHON NAT
- Page 111 and 112: 154 THE WRETCHED OF THE EARTHON NAT
- Page 113 and 114: 158 THE WRETCHED OF THE EARTHON NAT
- Page 115: ";":;;r:;i'I':::
- Page 119 and 120: 170THE WRETCHED or THE EARTHON NATI
- Page 121 and 122: 172 THE WRETCHED OF THE EARTHON NAT
- Page 123 and 124: --~--.~....,.~176 THE WRETCHED OF T
- Page 125 and 126: 180THE WRETCHED OF THE EARTHsimple
- Page 127 and 128: 184THE WRETCHED OF THE EARTHsituati
- Page 129 and 130: 188THE WRETCHED OF THE EARTHCOLONIA
- Page 131 and 132: 192THE WRETCHED OF THE EARTHCOLONIA
- Page 133 and 134: 196 THE WRETCHED OF THE EARTHpolice
- Page 135 and 136: 200 THE WRETCHED OF THE EARTHCOLONI
- Page 137 and 138: 204 THE WRETCHED OF THE EARTHhearin
- Page 139 and 140: 208 THE WRETCHED OF THE EARTHCOLONI
- Page 141 and 142: 212 THE WRETCHED OF THE EARTHCOLONI
- Page 143 and 144: 216 THE WRETCHED OF THE EARTHCOLONI
- Page 145 and 146: 220 THE WRETCHED OF' THE EARTHCOLON
- Page 147 and 148: 224THE WRETCHED OF THE EARTHCOLONIA
- Page 149 and 150: 226THE WRETCHED OF THE EARTHPorot d
- Page 151 and 152: 230 THE WRETCHED OF THE EARTHCOLONI
- Page 153 and 154: Conclusion Now, comrades, now is th
- Page 155 and 156: '''f u: ..._._"".".._.~__ _238 THE
- Page 157 and 158: 242 ON RETRANSLATING FANON, RETRIEV
- Page 159 and 160: 246 ON RETRANSLATING FANON, RETRIEV
- Page 161: #'iF.#~y250 ON RETRANSLATING I'ANON