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Black Migrant Literature, New African Diasporas, and the Phenomenology of Movement

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Black Migrant Literature, New African Diasporas, and the Phenomenology of Movement City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2015 Black Migrant Literature, New African Diasporas, and the Phenomenology of Movement Christopher Ian Foster Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/928 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Black Migrant Literature, New African Diasporas, and the Phenomenology of Movement by Christopher Ian Foster A dissertation Submitted to the Graduate Faculty in English in partial fulfillment of the rquirements for the degree of Doctor of Philosophy, The City University of New York (2015) i 2015 Christopher Ian Foster All Rights Reserved ii This Manuscript has been read and accepted for the Graduate Faculty in English in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Robert F. ReidReid----PharrPharr ____________________ _______________________________________ Date Chair of Examining Committee Mario DiGangi ____________________ _______________________________________ Date Executive Officer Meena Alexander Ashley DawsDawsonononon Supervisory Committee The City University of New York iii Abstract Black Migrant Literature, New African Diasporas, and the Phenomenology of Movement by Christopher Ian Foster Advisor: Robert F. Reid-Pharr Black Migrant Literature, New African Diasporas, and the Phenomenology of Movement examines immigration, diaspora, and movement in late twentieth and twenty-first century African literature. I primarily focus on “migritude” literature which describes the work of a disparate yet distinct group of contemporary African authors who critically focus on migration within the context of globalization, emphasizing that the “past” of immigration is irreducibly entangled with colonial processes. These writers often refashion the politics or discourses of earlier movements within the black radical tradition, such as Négritude or pan-Africanism, as a way to engage immigration in the present. I argue that although immigration as a system developed as an imperial project in the late nineteenth century along with the modern nation-state, it evolved into the present era of global capitalism as an international assemblage of techniques of power. Checkpoints, passports, and even borders are symptoms of these global structures often operating by racializing and gendering migrant bodies. A careful analysis of migritude writing furthers our understanding of globality, movement, and the socio-economic processes of globalization. Black Migrant Literature principally focuses on African women writers within new diasporas in the late twentieth and twenty-first centuries such as Somali-British writer Nadifa Mohamed, Senegalese-French writer Fatou Diome, and Kenyan-born Shailja Patel, who now lives in the United States. Migrant women’s bodies are targeted and managed in ways that both overlap and yet diverge from their male counterparts, and their experiences iv within various diasporas also differ. The migritude writers in this study therefore add to our understanding of the condition of immigration and the objects constellating it: borders, checkpoints, and passports, for example, while challenging gendered, racialized and often heteronormative anti-immigrant law and discourses that shape migrant being. Through close readings of five novels and one experimental prose-poem this dissertation engages the fields of black diaspora studies, African literature and globalization, postcolonial studies, theories of immigration and literature, and African women in/and migration. It assesses the work of Nadifa Mohamed, Fatou Diome, Shailja Patel, Cristina Ali Farah, Alain Mabanckou, Abdurahman Waberi, Paulette Nardal, Claude McKay, Aimé Césaire, Léopold Sédar Senghor, and others. v Acknowledgements This dissertation could not have been written without the generous support from The Institute for Research on the African Diasporas in the Americas and Caribbean and the Committee on Globalization and Social Change at The Graduate Center of the City University of New York. In particular I deeply thank my dissertation director, and director of IRADAC, Robert F. Reid-Pharr whose generous intellectual guidance sustained and shaped my work, and the director of CGSC Gary Wilder who also offered invaluable intellectual community and conversations. I thank and am indebted to Zee Dempster, Susan Buck-Morss, Priya Chandrasekaran, Aarthi Vadde, Caroline Rupprecht, Massimiliano Tomba, Joseph Entin, and others at IRADAC and CGSC. Many thanks to my dissertation committee, Meena Alexander and Ashley Dawson, who continue to represent a source of support, rigorous commentary, and whose scholarship and pedagogy has indeed shaped my project. Thanks to my wonderful colleagues and friends at the Postcolonial Studies Group at the Graduate Center Lily Saint, Fiona Lee, Tracy Riley, Alison Klein, Kiran Mascarenhas, Ashna Ali, Mikey Rumore, and others. Big ups also to my dissertation workshop friends, the brilliant Maggie Galvan, Velina Manolova, Suzy Uzzilia, and others who offered great readings of my chapters and community. Thank you to my great friend and mentor Rahul K. Gairola for over a decade of rigorous conversation, advice, and support. And perhaps the biggest and loudest thanks goes to my family, Chris Foster, Teri Robertson, and Hannah Foster, and to my partner Erin Friedmann: without your love and support I would not be here. Thanks all! — vi Table of Contents: Abstract ..…………………………………………………………………………………………..iv Acknowledgements ……………………………………………………………………………….vi List of Illustrations ………………………………………………………………………………viii Introduction: From Négritude to Migritude …………………………………………………..1 Chapter One: The “ Condition d’Immigrés ” in Fatou Diome’s Le Ventre de L’Atlantique ……………………………………………………………………………...……41 Chapter Two: Home to Hargeisa: Pan-Africanism, Black Internationalism, and the Politics of Migritude from Banjo to Black Mamba Boy ………………………......105 Chapter Three: “We Carry Our Home With Us” African Migritude in Italy in the works of Cristina Ali Farah, Marco di Prisco, and Fred Kuwornu ……………….185 Chapter Four: “A Matter of Timing” Immigration and Alternative Sexualities in Diriye Osman’s Fairytales for Lost Children ……………………………….235 Conclusion: African Literary Internationalism and the Phenomenology of Mattering Lives…………………….......................................................................................270 Bibliography: ……………………………………………………………………………………....278 vii List of Illustrations: ——— Figure One: Marco di Prisco, “Hugging Hope,” Digital Image (2014)………………………..185 Figure Two: Marco di Prisco, “Postcard from Rosarno, Italia,” Digital Image (2014)……..189 Figure Three: Marco di Prosco, “Men on Wire,” Digital Image (2014)……………………….193 — viii Introduction: From Négritude to Migritude 1 “Roots stretch, tighten, and snap. The plane has lifted off.” -Bernard Binlin Dadié, 1964. “Soomaali Baan Ahay [I am Somali], like my half is whole. I am the fine thread, so fine that it slips through and stretches, getting longer. So fine that it does not snap. And the tangled mass of threads widens and reveals the 2 knots, clear and tight, that though far from each other, do not unravel.” -Cristina Ali Farah, 2007. “Roots stretch, tighten, and snap. The plane has lifted off.” 3 These lines opening Ivorian writer Bernard Binlin Dadié’s 1964 One Way: Bernard Dadie Observes America , evoke two important historical facts bearing upon African literary traditions. The first word Dadie uses, “roots,” gestures towards the founding vocabulary of Négritude, a black literary and activist movement that would have a profound impact not just in Africa or Paris, where it originated in the 1930s, but throughout the world and in many languages. Dadié’s roots are African; they are those affective and material threads that weave together his identity and sense of self, yet they are roots that “stretch, tighten, and snap,” as he leaves West Africa for the United States. Négritude is arguably predicated upon the affirmation of African roots in the face of colonial racism, but as Dadié’s lines appear to suggest, also upon uprooting, through movement, migration, or diaspora—of gaining insight precisely in 1 Bern ard Binlin Dadie, One Way: Bernard Dadie Observes America , trans. Jo Patterson (Urbana and Chicago: University of Illinois Press, 1994), 1. 2 Cristina Al Farah, Little Mother , trans. Giovanna Bellesia-Contuzzi and Victoria Offredi Poletto (Bloomington and Indianapolis: Indiana University Press, 2011), 1. 3 Dadie, One Way: Bernard Dadie Observes America , 1. 1 leaving a colonized Africa for metropoles in the North. “The plane has lifted off.” Secondly, Dadié’s concise phrase is symbolic not simply of immigration, but a particularly modern and perhaps bourgeois mode of movement—air travel—indicating the economic class of many Négritude authors who, in Paris, combined to represent something of an African elite. Transcontinental air travel differs from the ways in which many migrants in the world emigrate, those of modest or no means who would travel by foot, truck, or boat, or refugees who must move quickly and without resources or the protections that citizenship and passports offer. Contrast Dadié’s inaugural sentences with the first
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