Édouard Glissant (1928-2011),among the greatest intellectuals,
artists, critics, creators, thinkers
to emerge from the 20th century
Caribbean, passed away today
in Paris at age of 82.
A poet, fiction writer, essayiste,
philosopher, he brought these
different genres together
in conversation, around and to
a meal at which they spoke
at length and freely with each other.
When I was in graduate school I debated trying to finesse my schedule in order to take a class with him at the CUNY Graduate Center, but couldn't swing it. I nevertheless did hurry to any and all talks he gave, and was very glad to have seen him in the fall of 2009, when NYU's Institute of African American Affairs sponsored four conversations under the title One World In Relation, that explored aspects of Glissant's work. The four panels were "Opacity, Stupidity and the History of Unintelligibility: The Right to Opacity as a Prerequisite for Politics and Philosophy" (Oct. 27); Diversity in the Black Night: Chaos, Créolization and Metissage" (Nov. 4); "Roots and Imaginary Offshoots: Ecstatic Difference" (Nov. 18); and "De-capitalization and the Way of the World: Religion, Secularism and Multiplicity" (Nov. 30).
I caught the third event, which featured François Noudelmann, Mary Ann Caws, Fred Moten (who brilliantly opened his presentation with a clip from John Coltrane's "Giant Steps," which opened a parallel vein of conversation, that rarely happens at such events), Manthia Diawara, Emily Apter, and Avital Ronell. The highlight of the evening, in addition to Moten's presentation, Diawara's film clip, and Glissant himself, was the tribute to him by poet Kofi Anyidoho, who entered the room and, breaking the usual hierarchical exchange that occurs between those on stage and the audience, strolled down the main aisle, singing and poetizing, gathering in his lyric embrace Kamau Brathwaite, another of the great figures of the 20th century Caribbean-African-Diasporic-America who was present; Diawara; and ultimately the entire audience. It appeared to shake some of the panelists up, but Glissant appeared delighted. He could see, I knew, in Anyidoho's performance some of his own theories being enacted, embodied, in play. I was glad I caught that event and sorry that I had to miss several others, including one at which the poet and translator extraordinaire Nathanaël, who beautifully translated Glissant's Poetic Intention (Nightbook Books, 2010), participated. At the bottom of this post are some photos of the event.
artists, critics, creators, thinkers
to emerge from the 20th century
Caribbean, passed away today
in Paris at age of 82.
A poet, fiction writer, essayiste,
philosopher, he brought these
different genres together
in conversation, around and to
a meal at which they spoke
at length and freely with each other.
When I was in graduate school I debated trying to finesse my schedule in order to take a class with him at the CUNY Graduate Center, but couldn't swing it. I nevertheless did hurry to any and all talks he gave, and was very glad to have seen him in the fall of 2009, when NYU's Institute of African American Affairs sponsored four conversations under the title One World In Relation, that explored aspects of Glissant's work. The four panels were "Opacity, Stupidity and the History of Unintelligibility: The Right to Opacity as a Prerequisite for Politics and Philosophy" (Oct. 27); Diversity in the Black Night: Chaos, Créolization and Metissage" (Nov. 4); "Roots and Imaginary Offshoots: Ecstatic Difference" (Nov. 18); and "De-capitalization and the Way of the World: Religion, Secularism and Multiplicity" (Nov. 30).
