248 ON RETRANSLATING FANON, RETRIEVING A LOST VOICEword rehabilitated by <strong>the</strong> black intelligentsia <strong>of</strong> <strong>the</strong> time andthrown back at <strong>the</strong> European as <strong>the</strong> supreme weapon. One <strong>of</strong><strong>the</strong> great achievements <strong>of</strong> Cesaire's epic poem "Notebook <strong>of</strong> aReturn to My Native Land" is to reappropriate <strong>the</strong> negative termand give it a positive meaning. In Pour la revolution africaine(Toward <strong>the</strong> African Revolution), in <strong>the</strong> chapter "Antillais etMricains" Fanon describes how <strong>the</strong> word negre was used for <strong>the</strong>Mricans by both Europeans and French Caribbeans alike. Hequotes <strong>the</strong> example <strong>of</strong> a boss in Martinique demanding toomuch from his employee and getting <strong>the</strong> response: "Si vousvoulez un wzgre, aUez Ie chercher en Afrique" ("If you're lookingfor a nigger, go and find him in Mrica"). To quotc a more modernexample <strong>of</strong> this, we only have to look at <strong>the</strong> opening lines<strong>of</strong> Chris Rock's signature skit: "I love black people, but I hateniggers.... Every time black people want to have a good time,niggers mess it up." It wasn't until Cesaire came along that "for<strong>the</strong> first time, we saw a lycee teacher, and <strong>the</strong>refore an apparentlyworthy man, simply tell West Indian society that it is 'goodand well to be a nigger.' Of course it was a scandal." And Fanonends his chapter on national culture with <strong>the</strong> words: "There canbe no such thing as rigorously identical cultures. To believe onecan create a black culture is to forget oddly enough that 'Negroes'are in <strong>the</strong> process <strong>of</strong> disappearing, since those who created <strong>the</strong>mare witnessing <strong>the</strong> demise <strong>of</strong> <strong>the</strong>ir economic and cultural supremacy."Now that <strong>the</strong> vocabulary has evolved it places <strong>the</strong>translator in a twenty-first-century predicament. I have updated<strong>the</strong> word Negro, when he refers to <strong>the</strong> peoples <strong>of</strong> Mrica or <strong>the</strong>diaspora, to black, and used nigger when it is <strong>the</strong> colonizer referringto <strong>the</strong> same. In some cases, I have left Negro in its historicalcontext. But I have lost something in <strong>the</strong> translation <strong>of</strong><strong>the</strong> word negre, for it has both a sting and an embrace, and thatis irretrievable. I have modernized <strong>the</strong> word indigene to colonizedor colonized subject, ridding it <strong>of</strong> today's pejorative sense <strong>of</strong> nativealthough Fanon, in keeping with <strong>the</strong> colonial vocabulary <strong>of</strong>his time, uses both terms indifferently in <strong>the</strong> very same paragraph.ON RETRANSLATING FANON, RETRIEVING A LOST VOICE 249So how relevant is Fanon today? I ean remember going into<strong>the</strong> FNAC bookstore in Paris last year to buy an edition <strong>of</strong> LesDamnes de La Terre and being asked: Fanon? How do you spellOh yes, here we are, as <strong>the</strong> girl consulted her computer, Lesdames de la terre! Fanon obviously hasn't left his mark here, Ithought, and moved on. But how far ean we move on and forgethim? We cannot forget <strong>the</strong> martyrdom <strong>of</strong> <strong>the</strong> Palestinians whenwe read in Fanon's chapter "On Violence": "At <strong>the</strong> individuallevel, violence is a cleansing force. It rids <strong>the</strong> colonized <strong>of</strong> <strong>the</strong>irinferiority eomplex, <strong>of</strong> <strong>the</strong>ir passive and despairing attitude. Itemboldens <strong>the</strong>m and restores <strong>the</strong>ir self-eonfidence." We eannotforget <strong>the</strong> lumpenproletariat, <strong>the</strong> <strong>wretched</strong> <strong>of</strong> <strong>the</strong> <strong>earth</strong>, who stillstream to Europe from Afriea, Iraq, Mghanistan, and <strong>the</strong> countries<strong>of</strong> <strong>the</strong> former Eastern bloe, living on <strong>the</strong> periphery in <strong>the</strong>irshantytowns and refugee centers, waiting for a better life. Thebourgeoisie in Africa still unreservedly and enthusiasticallyadopt <strong>the</strong> thinking mechanisms characteristic <strong>of</strong> <strong>the</strong> West, stillhas alienated to perfection its own thoughts and grounded itsconsciousness in typically foreign notions, still turns its backon <strong>the</strong> majority <strong>of</strong> its population, vacationing on <strong>the</strong> FrenchRiviera and building colossal palaces for prestige sake, joininghands in "this huge caravan <strong>of</strong> corruption" and becoming, asFanon says: "a bourgeois bourgeoisie that is dismally, inanely,and cynically bourgeois." And his thoughts on culture differentiatingAfrica from <strong>the</strong> Americas, visioning <strong>the</strong> disappearance<strong>of</strong> black culture in favor <strong>of</strong> national cultures, regarding traditionsbasically stifling whereas a culture is constantly changing,modernizing, and penetrated by o<strong>the</strong>r influences. waswrong <strong>of</strong> course on many points, especially pan-Africanism, <strong>the</strong>role <strong>of</strong> <strong>the</strong> peasantry in leading a revolution, and <strong>the</strong> fate <strong>of</strong>Algeria. But at <strong>the</strong> time, his analyses <strong>of</strong> alienation and decolonizationwere extraordinary eye-openers, not only for a complacentEurope but for his fellow islanders, blinded to reality. It ishis anger, conviction, and humanism that will always remainwith us.
#'iF.#~y250 ON RETRANSLATING I'ANON, RETRIEVING A LOST VOICESo this has been.my fourth encounter with Fanon, and per<strong>the</strong>most intimate. The o<strong>the</strong>r three were encounters with<strong>the</strong> o<strong>the</strong>rs, <strong>the</strong> colonized, <strong>the</strong> colonial subjects. This time I hadcome face-to-face with <strong>the</strong> man himself and had to take on <strong>the</strong>extraordinary task <strong>of</strong> gaining access to <strong>the</strong> author's voice andmeaning, and initiating communication with <strong>the</strong> target audience.The very fact that I had lived in Africa, France, and <strong>the</strong>French Caribbean helped enormously in understanding <strong>the</strong>society and culture that had shaped and influenced Fanon. ButI no longer had <strong>the</strong> good fortune to be able to pop into <strong>the</strong> nextroom and ask him what exactly he meant in such and such a paragraphas I can when translating Maryse Conde. I had accompaniedhim on his life's journey, but <strong>the</strong> closest I could to <strong>the</strong>man himself was being in <strong>the</strong> company <strong>of</strong> Bertene Juminer, AssiaOjebar, Roland Thesauros, Edouard Glissant, Mme ChristianeDiop <strong>of</strong> Presence Africaine, and Aime Cesaire, all <strong>of</strong> whom hadcrossed his path. You might think that translating <strong>the</strong> dead givesyou a whole lot <strong>of</strong> freedom-<strong>the</strong>re's nobody <strong>the</strong>re looking overyour shoulder or making rude comments. But in fact <strong>the</strong>re arecrowds <strong>of</strong> people looking over your shoulder-from <strong>the</strong> readers<strong>of</strong> <strong>the</strong> original translation to <strong>the</strong> postcolonial scholars who havestaked <strong>the</strong>ir reputation on Fanon's ideas. Translating a dead manmeans stepping warily through a minefield littered with <strong>the</strong>debris <strong>of</strong> ano<strong>the</strong>r time and ano<strong>the</strong>r translation. But <strong>the</strong> very fact<strong>of</strong> looking back was a driving force to modernize <strong>the</strong> text andahead. In Fanon's case, translating <strong>the</strong> dead was a case <strong>of</strong>translating life itself. I felt I had to bring a dead translation backto life. To quote John Felstiner on Celan, he hoped that in translatingCelan's poems he felt something akin to what Celan feltwriting <strong>the</strong>m. Retranslating Fanon, rewriting Fanon almost givesme <strong>the</strong> same kick. As if I am <strong>the</strong> one writing down his thoughtsEnglish for <strong>the</strong> first time.And <strong>the</strong>n <strong>the</strong>re is that secret feeling that married to a writerfrom Guadeloupe, from <strong>the</strong> French Caribbean, I have alwaysON RETRANSLATING I'ANON, RETRIEVING A LOST VOICE 251known Fanon and understood his dilemma and ambition as aMartinican. No one sums up this personality <strong>of</strong> <strong>the</strong> FrenchCaribbean better than Aime Cesaire in "Hommages a FrantzFanon" published in Presence Africaine in 1962:Perhaps Fanon reached such heights and his vision was so broadbecause he was a French Caribbean, in o<strong>the</strong>r words he had started <strong>of</strong>fso far down and from such a narrow Perhaps only aibbean, in o<strong>the</strong>r words one so destitute, so depersonalized could haveset <strong>of</strong>f with such determination to conquer himself and plenitude; onlyCaribbean, in o<strong>the</strong>r words one so mystified to start <strong>of</strong>f with,manage to dismantle with such skill <strong>the</strong> most elusive mechanisms<strong>of</strong> mystification; only a French Caribbean, finally, could want so desperatelyto escape powerlessness through action and solitude throughfraternity.- Richard Philcox
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OTHER WORKS BY FRANTZ FANON PUBLISH
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