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Toussaint Louverture Commemorative Postage Stamps, First Day Cover, Republic of Dahomey (November 18, 1963)

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Toussaint Louverture Commemorative Postage Stamps, First Day Cover, Republic of Dahomey (November 18, 1963) University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/4122 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. The Literary Impact of The Haitian Revolution by Philip James Kaisary A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English and Comparative Literary Studies Department of English and Comparative Literary Studies University of Warwick March 2008 Contents List ofillustrations .........................................................................•................ 4 ~~JrI10J1)I~tl~",f?nts .......................................................................•................... !5 j[)~(;ltl,.tltions •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• () ~l)sl1rtl(;t ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• ~ Introduction: The Extraordinary Cultural Afterlives of the Haitian ~~,,()lllti()11 ••.....•...•••••••..••••••••.•.••••••••••••••.•••••••••.••.....•.••••••••••.•..••••••••••.•..•.••••••• ~ 1. Myths and Heroes: Aime Cesaire's and C. L. ~. James's representations of the Haitian ~evolution .................................................. 35 2. Negritude and the Haitian ~evolution: ~ene Depestre's Un arc-en-ciel pour l'occitlent chretien (~Rainbow for the Christian JJ1~~t~ ............................................................................................................. Cit) 3. Edouard Glissant's Monsieur Toussaint ................................................ 103 4. The marvelous real and the Haitian ~evolution in Alejo Carpentier's The Kin~tlom of this JJ1orltl ........................•.......................... 123 5. Langston Hughes and the Haitian ~evolution ...................................... 150 6. The aesthetics of cyclical pessimism: Derek Walcott's Haitian Trilo~ ......................•..................................•...................................••.......... 1~~ ~. Fantasizing the Haitian ~evolution with Madison Smartt Bell............ 231 2 8. Kimathi Donkor's Caribbean Passion: Haiti 1804 paintings and the Haitian Revolution on the commemorative postage stamps of Dahomey, Cuba, and Britain ..................................................................... 270 Conclusion .................................................................................................. 299 ~il)li()~rtll'JlJV ............•.•.........••.••••••••.•.•..•.•••••••••••••••••••••••••••••••••••••.•••••••••••••• :J()~ 3 List of illustrations Figure 1. Jacob Lawrence, General Toussaint L 'Ouverture 1986, print, 32 x 22 inches ........................................................................... 289 Figure 2. Kimathi Donkor, Toussaint L'Ouverture at Bedourete 2004, oil on linen, 136 x 183cm. By the artist's permission .......................... 290 Figure 3. Eugene Delacroix, Liberty Leading the People 1831, oil on canvas, 325 x 260 cm, Louvre, Paris ......................................... 291 Figure 4. Jacques-Louis David, Napoleon at the Saint Bernard Pass 1801,259 x 221 cm, Chateau de Malmaison, Rueil-Malmaison ................... 292 Figure 5. Kimathi Donkor, The Small Axe 2004, oil on linen, 70 x 100 cm. By the artist's permission ........................... 293 Figure 6. Caravaggio, Doubting Thomas c. 1602-3, oil on canvas, 107 x 146, Sanssoucci, Potsdam ........................... 294 Figure 7. Toussaint Louverture Commemorative Postage Stamps, First Day Cover, Republic of Dahomey (November 18, 1963). Photograph by Philip Kaisary (2008) ........................................................... 295 Figure 8. Toussaint Louverture Commemorative Postage Stamps, First Day Cover, Republic of Dahomey (November 18, 1963). Photograph by Marcus Wood (2008) ............................................................ 296 Figure 9. Bicentenary of the Haitian Revolution Commemorative Postage Stamp, First Day Cover, Republic of Cuba, First Day Cover, (November 20, 1991). Photograph by Philip Kaisary (2008) ........................ 297 Figure 10. Abolition of the Slave Trade Commemorative Postage Stamps, Royal Mail First Day Cover, UK (March 22, 2007). Photograph by Philip Kaisary (2008) ........................................................... 298 4 Acknowledgments I would like to thank my supervisor Benita Parry for her ceaseless support, understanding, and boundless generosity. Throughout the course of this thesis she has been an inspirational mentor and she has become a great friend. I would also like to express my deep gratitude to Marcus Wood who first encouraged me along this path, and whose support, good humour and friendship have been invaluable along the way. I also want especially to thank Pablo Mukherjee and Rashmi Varma for their support and guidance. The following people have also, in different ways, helped me to carry out this project: Ian Campbell, Sharae Deckard, Jim Graham, Gad Heumann, Peter Larkin, Neil Lazarus, Stephen Shapiro, and Ian Thomson. I am deeply grateful for their generous support. Finally, I am struck by the impossibility of finding the words with which to thank my family: my debt to them far exceeds anything that can be expressed in a formal acknowledgement. My parents, Amir and Karen, for their love and absolute faith in me, my brother, Peter, for his friendship, and my partner and companion, Tamara Berthoud, for her love, kindness, and patience. 5 Declarations I hereby declare that this thesis represents my own work and to the best ofmy knowledge it contains no materials previously published or written by another person 170r material which to a substantial extent has been accepted for the aH'ard of an)' other degree at the University of Warwick or any other educational institution. Any contribution made to the research by others, with )thom I ha1'e worked at the University of Warwick or elsewhere, is explicitly acknowledged. This thesis may be photocopied. 6 Abstract The Haitian Revolution (1 791-1804) reshaped the debates about slavery and freedom in Europe, accelerated the abolitionist movement, precipitated rebellions in neighbouring territories, and intensified both repression and anti­ slavery sentiment. Its long-term effects remain visible in the many representations, recuperations, and invocations of the Revolution as an exemplar of black agency. At the same time, the violence of the conflict led to portrayals of Haiti as unregenerate and primitive, a prey to 'voodoo' and lawlessness. Hence the recuperation of Haiti's political and cultural history, in which the establishment of the first postcolonial nation must be accounted for as a momentous event despite its ostensible failure, contests the tradition of imperial denigration. The thesis addresses how the Haitian Revolution followed by the establishment of a Black Republic, provided inspiration for writers, artists and intellectuals throughout the Atlantic Diaspora in diverse cultural and intellectual locations from the 1920s onwards. If public knowledge about Haitian history has for some time now been limited in Europe and North America, the Revolution has been a potent factor in black memory and it remains an inspiration to Carib beans, Africans, African Americans, and Latin Americans, as well as to radical intellectuals and artists worldwide. The thesis studies the writings generated by the Revolution in the works of Aime Cesaire, C. L. R. James, Rene Depestre, Langston Hughes, Edouard Glissant, Alejo Carpentier, Derek Walcott, and Madison Smartt Bell, spanning French, English, and Spanish, and including poetry, drama, history, biography, fiction, and opera; while in the visual arts it considers the paintings of Kimathi Donkor and commemorative postage stamps. My discussion addresses both critical understandings and fictional reinventions of the Revolution's achievement and tragic reversals. I examine the ideologies informing the analyses, and the aesthetics of the imaginative writings, where a political stance in some cases served to promote innovation and experimental style and in others was a constraint. 7 Introduction: The Extraordinary Cultural Afterlives of the Haitian Revolution The Haitian Revolution that led to the establishment of Haiti in 1804 as the first independent Black Republic in the world, has long held a fascination for writers, artists and intellectuals of a vast array of nationalities , ethnicities , and political allegiances. The twelve-year revolutionary war of independence in the French colony of Saint Domingue that was, by turns, a slave rebellion, an anti- colonial war, and a race war, shocked the Western world, reshaped the debates about slavery, accelerated the abolitionist movement, precipitated rebellions in neighbouring territories, and intensified both repression and anti-slavery sentiment on both sides of the Atlantic. 1 In the wake of the Revolution a vast range of literary works was produced by notable nineteenth-century writers that sought to celebrate, appropriate or dramatize the event. These included the 1 The best study of the impact of the Haitian Revolution on the politics of the Atlantic World, on slave resistance, on liberation struggles
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