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7 - The Stylistics of Possession

from Part IV - Showing vs. Telling

Kaiama L. Glover
Affiliation:
Barnard College, Columbia University
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Summary

Frankétienne

From the very beginning … the cry imposed its very particular syntax on the slave. For the Antillean, the word is, first and foremost, sound. Noise is speech. Clamor is discourse. This must be understood.

—Edouard Glissant

Of the three Spiralists, Frankétienne has been perhaps the most overt in his attention to the specifically formal challenges to writing in and from a geographical space where the distance between the written and the real is so remarkable. Author of the world's first full-length novel in Haitian Creole, resolute refuser of exile, math teacher, and community leader, Frankétienne's actions reveal a commitment to the insular collective that inspires his literary production. At the same time, however, the sesquipedalian acrobatics of his prose fiction certainly appear, at first (and second and third) glance, to be at odds with any sort of populist intent. Frankétienne is aware of this apparent contradiction. In fact, he ultimately goes so far as to name it: “schizophonia,” officially introducing the term in the title of his 1993 spiral, L'Oiseau schizophone. Though this title appears some years after the publication of the three works discussed here, there is no question that the concepts it describes are present from Frankétienne's first writings. Yves Chemla defines schizophonia as

the attitude or position of the artist … who realizes little by little that the sounds s/he hears and that s/he produces are the only ones capable of evoking the chaos and the pollution that affect the world (as well as language itself) by means of neologism, lexical invention, rhymes and echoes, alliterations and encounters between sounds and images.

(Chemla, “Iconographie”)
Type
Chapter
Information
Haiti Unbound
A Spiralist Challenge to the Postcolonial Canon
, pp. 183 - 207
Publisher: Liverpool University Press
Print publication year: 2010

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