New York: Grove Press, 2008

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It is no coincidence that there is a new English translation of Black Skin, White Masks [Peau Noire, Masques Blancs (1952), hereafter BSWM], since in this first book, Frantz Fanon himself believed that the fight against racism had nowhere found more succor than in the United States. Fanon poetically describes the shorn “curtain of the sky” over the battlefield after the Civil War that first reveals the monumental vision of a white man “hand in hand” with a black man (196). Yet while blacks continue to remain segregated under Jim Crow, the situation for the French man of color haunted by liberal metropolitan racism, is rather different. He remains locked in an existential struggle for recognition, unaware that freedom means “when there are no more slaves, there are no masters” (194). Fanon contends in BSWM that there is no more insidious obstacle than racism to the realization of our species capacities or the completion of the historical dialectic. Of course this claim only makes sense if racism is treated, like in BSWM, as a symptom of capitalism. That is, even The Wretched of the Earth [Les Damnés de la Terre (1961), hereafter W of E], fails to achieve the depth of analysis in BSWM.[1] The Black Panther Eldridge Cleaver was presumably speaking about W of E in the quip that “every brother on a rooftop” in the 1960s was able to recite Fanon. For no one quoting BSWM can miss its incisive rebuke of black militancy as proffering a chimeric freedom or its bold claim about alienation as the exclusive privilege of a certain class of blacks. “Fervor,” the narrator in BSWM poignantly remarks, “is the weapon of choice of the impotent” (9 CLM).[2] The awful truth that no one, except a handful of academic leftists interested in presenting BSWM as an anti-humanist phenomenology,[3] reads this book anymore indicates the depth of the sea change in attitudes about race on the Left. But if the utopian interracial schema of BSWM speaks to us at all, this is a consequence of the peculiarity of the US as a “nation of nations,” where the experience of racism raises the dilemma of freedom with acuteness.

The historic importance of W of E to the New Left overshadows the brilliant analysis of racism in BSWM.[4] Even the appearance of a new translation on the scene scarcely alters the conditions of this elision. His latest translator, Richard Philcox, in his afterword to the retranslation of W of E, explains the relevance of — or rather, expresses the contemporary confusion about — Fanon thus: “We cannot forget the martyrdom of the Palestinians when we read…‘On Violence’….We cannot forget the lumpenproletariat, the wretched of the earth, who still stream to Europe from Africa, Iraq, Afghanistan, and the countries of the former Eastern bloc, living on the periphery in their shantytowns.” As Philcox laments, “[there are those who] still unreservedly and enthusiastically adopt the thought characteristics of the West.”[5] The Freud-Marx confluence in BSWM sits at odds with this politically naïve anti-imperialism. No doubt this at least partially explains why the new translation elicits a tepid foreword by Kwame Anthony Appiah. More pointedly, Appiah reads three themes as shared across both works — a critique of “the Eurocentrism of psychoanalysis,” a bid to reckon accounts with Negritude, and a concerted effort to develop a “philosophy of decolonization” — as if these formed a triptych. However this is no more than a trompe l’oeil. The concern with “disalienation” in the first book is non-identical with anxieties about “decolonization” in the latter: Whereas BSWM analyzes the wretchedness of racism under capitalism, W of E recoils from the task of pushing through what, in the conclusion to BSWM, is referred to as the “pathology of freedom” by virtue of its close identification with Third Worldism. On the other hand, the foreword seems apposite to this new translation, since the choices that Philcox makes in trying to render into English the peculiarity of the French in BSWM often coincide with the interpretation Appiah advances on the thematic unity of Fanon’s oeuvre. Hence, in its endeavor to restore some of the philosophically inflected categories (particularly in the fifth chapter), the new translation mirrors a wider historical trend privileging a descriptive phenomenology of race over a psychoanalytic interpretation.[6] The manner in which the new edition assumes the onus of parsing the French words nègre or noir (“black/the black man,” “negro,” or “nigger”) tends to blunt the affective charge of “negro” as well as the rhetorical use of “nigger” by preferring to update — although by no means always — these epithets with the more innocuous “black” or “the black man.” Part of the issue is that the French uses a number of words to express the gray scale that distinguishes black skin from white, “the Creoles, the Mullattoes, and Blacks,” (la békaill, le mûlatraille et la négraille), that in English are collapsed into “black/black man” or the more pejorative “negro/nigger.” Nevertheless, the cumulative effect is that the newer version shrouds a claim at the heart of BSWM: Blacks as much as whites share the connotations or stereotypes associated with what is “black,” so that the “nigger” is always someone else, somewhere else.[7] The new, “more accurate” translation painstakingly reconstructs the specificity of the numerous cultural references in the text, its idiosyncratic use of medical jargon, and its loanwords from existentialism. But these virtues are limited by the fact that it lacks the apparatus of a critical edition with which to adjudicate matters of nuance. Despite its infelicities, the older translation by Charles Lam Markmann, first issued in 1967, seems more aware of its intended audience; its age captures quaintly the historical texture of BSWM. The older translation was, in an important sense, more aware of the stakes of BSWM. Continue reading →