What happens when the study of French is no longer coterminous with the study of France? French Civilization and Its Discontents explores the ways in which considerations of difference, especially colonialism, postcolonialism, and race, have shaped French culture and French studies in the modern era. Rejecting traditional assimilationist notions of French national identity, contributors to this groundbreaking volume demonstrate how literature, history, and other aspects of what is considered French civilization have been shaped by global processes of creolization and differentiation. This book ably demonstrates the necessity of studying France and the Francophone world together, and of recognizing not only the presence of France in the Francophone world but also the central place occupied by the Francophone world in world literature and history.

Edouard Glissant, long recognized in the French and francophone world as one of the greatest writers and thinkers of our times, is increasingly attracting attention from English-speaking readers. Born in Martinique in 1928, Glissant earned a doctorate from the Sorbonne. When he returned to his native land in the mid-sixties, his writing began to focus on the idea of a "relational poetics," which laid the groundwork for the "creolite" movement, fueled by the understanding that Caribbean culture and identity are the positive products of a complex and multiple set of local historical circumstances. Some of the metaphors of local identity Glissant favored-the hinterland (or lack of it), the maroon (or runaway slave), the creole language-proved lasting and influential. In Poetics of Relation, Glissant turns the concrete particulars of Caribbean reality into a complex, energetic vision of a world in transformation. He sees the Antilles as enduring suffering imposed by history, yet as a place whose unique interactions will one day produce an emerging global consensus. Arguing that the writer alone can tap the unconscious of a people and apprehend its multiform culture to provide forms of memory capable of transcending "nonhistory," Glissant defines his "poetics of relation"-both aesthetic and political-as a transformative mode of history, capable of enunciating and making concrete a French-Caribbean reality with a self-defined past and future. Glissant's notions of identity as constructed in relation and not in isolation are germane not only to discussions of Caribbean creolization but also to our understanding of U.S. multiculturalism. In Glissant's view, we come to see that relation in all its senses-telling, listening, connecting, and the parallel consciousness of self and surroundings-is the key to transforming mentalities and reshaping societies. This translation of Glissant's work preserves the resonating quality of his prose and makes the richness and ambiguities of his voice accessible to readers in English.

Soleil de la Conscience (Sun of Consciousness) was Martinican philosopher Édouard Glissant’s first published work, and opened the Poétique (Poetics) strain of his oeuvre. This book-length essay, which is characterized by its exploratory, intimate character, announces Glissants concerns with créolisation (creolization), mondialité (worldliness, as against globalization), or opacité (opacity) and inscribes in this work a refusal of colonialism and of inverted exoticism. The sense of estrangement experienced by the author who arrives as a “foreigner� in a country to which he is bound by “the first page of his passport� is the author’s principal preoccupation. By positioning himself as both different and same, Glissant opens a space for the writing of a(nother) history: that of the Caribbean.

A New York Times New and Noteworthy Book Edouard Glissant's novels, closely tied to the theories he developed in Poetique de la Relation (Poetics of relation), are rich explorations of a deported and colonized people's loss of their own history and the ever-evolving social and political effects this sense of groundlessness has caused in Martinique. In Mahagony Glissant identifies both the malaise of and the potential within Martinican society through a powerful collective narrative of geographic identity explored through multiple narrators. These characters' lives are viewed back and forth over centuries of time and through tales of resistance, linked always by the now-ancient mahogany tree. Attempting to untangle the collective memory of Martinique, Mathieu, the contemporary narrator, creates a conscious history of these people in that place-a record that unearths the mechanics of misrepresentation to get at the fundamental, enduring truths of that history, perhaps as only the mahogany tree knows it.

This marks the publication of the first English-language translation of Poetic Intention, Glissant's classic meditation on poetry and art. In this wide-ranging book, Glissant discusses poets, including Stephane Mallarme and Saint-John Perse, and visual artists, such as the Surrealist painters Matta and Wilfredo Lam, arguing for the importance of the global position of art. He states that a poem, in its intention, must never deny the "way of the world." Capacious, inventive, and unique, Glissant's Poetic Intention creates a new landscape for understanding the relationship between aesthetics and politics.

Selected essays from the rich and complex collection of Edouard Glissant, one of the most prominent writers and intellectuals of the Caribbean, examine the psychological, sociological, and philosophical implications of cultural dependency. Edouard Glissant's Caribbean Discourse is an unflaggingly ambitious attempt to read the Caribbean and the New World experience, not as a response to fixed, univocal meaning imposed by the past, but as an infinitely varied, dauntingly inexhaustible text.

"Chronicle of the Seven Sorrows" traces the rise and fall of Pipi Soleil, "king of the wheelbarrow" at the vegetable market of Fort-de-France, in a tale as lively and magical as the marketplace itself. In a Martinique where creatures from folklore walk the land and cultural traditions cling tenuously to life, Patrick Chamoiseau's characters confront the crippling heritage of colonialism and the overwhelming advance of modernization with touching dignity, hilarious resourcefulness, and truly courageous joie de vivre.

In 1989, the Caribbean writer Edouard Glissant visited Rowan Oak, William Faulkner's home in Oxford, Mississippi. His visit spurred him to write a revelatory book about the work of one of our greatest but still least-understood American writers.
"A fascinating way to read Faulkner. . . .[Glissant's] case is nothing less than that, no matter how Faulkner's personal Furies twisted his public speech, Faulkner was a great, world-beating multiculturalist."--Jonathan Levi, "Los Angeles Times Book Review"
"A sharp, challenging, and wholly unique tour of Yoknapatawpha County." --"Kirkus Reviews"
"Passionate. . . . Glissant's prose sometimes vies with Faulkner's for intricacy and evocative nuance." --Scott McLemee, "Newsday"
"Glissant tries to engage Faulkner on many fronts simultaneously, positioning himself as a critic, a fellow artist and as a descendant of slaves. . . He makes a convincing case that Faulkner is not just another 'dead white male author.'"--Scott Yarbrough, "Raleigh News & Observer"
"[An] ambitious and, at times, rambunctious expedition into Yoknapatawpha County." --Christine Schwartz Hartley, "New York Times Book Review"

"The Fourth Century" tells of the quest by young Mathieu Beluse to discover the lost history of his country, Martinique. Aware that the officially recorded version he learned in school omits and distorts, he turns to a "quimboiseur" named Papa Longoue. This old man of the forest, a healer, seer, and storyteller, knows the oral tradition and its relation to the powers of the land and the forces of nature. He tells of the love-hate relationship between the Longoue and Beluse families, whose ancestors were brought as slaves to Martinique. Upon arrival, Longoue immediately escaped and went to live in the hills as a maroon. Beluse remained in slavery. The intense relationship that had formed between the two men in Africa continued and came to encompass the relations between their masters, or, in the case of Longoue, his would-be master, and their descendants. "The Fourth Century" closes the gap between the families as Papa Longoue, last of his line, conveys the history to Mathieu Beluse, who becomes his heir.