Afropessimism

wilderson_afropessimismFrank Wilderson’s much-heralded new book, Afropessimism, is uneven, inconsistent, frequently repetitive and frustrating, even off-putting. At the end of it all, I’m not sure I liked it much. But it is also often compelling and definitely an important statement, a manifesto of sorts, that should be read by anyone involved in critical theory or political movements today. Indeed, its faults and rough edges are part of the point. This is not a book that seeks to win friends. Quite the opposite: Wilderson notes without apology that it is “common for most people to feel like they’d been mugged by Afropessimism” (328). This is a book that aims to take you by surprise and leave you reeling on the ground, even (especially) if you thought yourself an ally of progressive anti-racist politics.

What is Afropessimism? It can perhaps most easily be contrasted (as it is throughout this book) with identity politics such as feminism. If feminism has been defined as “the radical notion that women are human beings,” Afropessimism is the perhaps still more radical notion that Blacks are not human. More precisely, Blacks are “the foil of Humanity” (13). It is their exclusion from the Human, effected through constant, gratuitous violence, that enables the constitution of Humanity as such that is thus parasitical on a Blackness that it both requires and refuses: “just as economic production is parasitic on the labor power of the working class, the production of Human capacity is parasitic on the flesh of the Slave, the Black” (192). Hence, where the aim of feminism (or, say, LGBTQ politics) is to reclaim a humanity denied to women (or lesbians, gays, etc.), Afropessimism by contrast refuses a humanity that it sees as inherently “unethical” (333) because of its dependency on anti-Black violence. Hence, indeed, Afropessimism is cast not simply in contrast to identity politics but also against them, as well as against any other notionally progressive movement (Marxism, postcolonialism, or whatever) for which the Human is taken for granted or even upheld as the terrain or object of its struggle. The “pessimism” of Afropessimism, then, surely arises in part because (it claims) Blacks will be perpetually disappointed if not betrayed by their would-be allies on the Left. And the mugging that it delivers hits hardest at those (Black or non-Black) invested in a solidarity politics that it claims is at best impossible, at worst damaging to any prospect of Black liberation.

What is Black liberation? Wilderson spends much more time describing what it is not than what it is. As he puts it, “Afropessimism has no prescriptive gesture.” In so far as it envisages a future, it is quite literally apocalyptic: “The end of our suffering signals the end of the Human, the end of [the] world” (331). This is, Wilderson admits, “a program of complete disorder” (250). But Blacks can welcome the end of the world because whereas (say) women or “non-Black people of color [. . .] have something to salvage,” Blacks by contrast “have nothing to lose” (176). Moreover, Wilderson adds that “The desire to be embraced, and elaborated, by disorder and incoherence is not anathema in and of itself. No one, for example, has ever been known to say, Gee whiz, if only my orgasms would end a little sooner, or maybe not come at all” (250). As such, liberation seems to involve an affirmation of the Real, not far distant (despite the reference here to the “faux-politics of Deleuze” [183]) from the untamed expression of desiring-production championed by schizoanalysis.

So Afropessimism is not entirely novel, however much it breaks (at time abruptly) from many of the assumed verities of identity politics or the mainstream left, even in its “intersectionalist” guise. It has much in common with at least one strain of Subaltern Studies (à la Spivak, for instance), as well as with the approach that some of us have been advancing in terms of “posthegemony” and “infrapolitics” and the like. Wilderson certainly has no truck with the Gramscian conceptions of hegemony and civil society, but he returns to them repeatedly as they encapsulate all that he finds wrong with so much of what passes for progressive thinking and leftist political strategy today: “coalitions and social movements [. . .] bound up in the solicitation of hegemony [. . .] ultimately accommodate only the satiable demands and legible conflicts of civil society’s junior partners [. . .] but foreclose upon the insatiable demands and illegible antagonisms of Blacks” (222-3). For Wilderson, political analysis and strategy alike must move beyond the confines of a hegemony theory that only makes things worse, blind as it is to the constituent violence that grounds hegemony itself, seared into Black flesh before the play of either consent or coercion can kick in. Where Afropessimism most strikingly breaks from Subaltern Studies or posthegemony, however, is precisely in that it is Black flesh that is at issue. Here, the excluded subaltern position is explicitly and specifically (and uniquely) coded as Black. Women, gays, the indigenous, the working class (and so on) are never, for Wilderson, subaltern in this sense, as they always have something at stake in the struggle for hegemony. For Blacks, by contrast, what is as stake is hegemony itself, which is only thinkable on the basis of their a priori exclusion from civil society tout court.

It is this assertion that is no doubt one of the most controversial among the many incendiary positions that Wilderson stakes out. Indeed, he chronicles at length the fall-out of one occasion in which he made this argument about Black singularity, at a conference in Berlin where all hell broke loose after he gave a paper on Afropessimism. We can agree that there is something at best distasteful about what he calls an “oppression Olympics” in which injustices would be compared and measured. To use Wilderson’s terms, there is no analogy between (say) the genocide that was the transatlantic slave trade and the genocide that was the European Holocaust. The two histories are incomparable. Indeed, Wilderson would argue that anti-black violence is not even historical; it is what grounds historical narrative without fully being registered by it. Yet, on the one hand, it is undeniable that the slave trade is also historical; its trace can be found even in the historical record that can never do it justice. And, on the other hand, there is something about the Holocaust (and not just the Holocaust) that also both subtends and escapes narrative rationality. In other words, we may accept Wilderson’s analytic distinction between a “contingent” violence that is subject to the logic of hegemony, and an “absolute” or “gratuitous” violence inflicted upon those constitutively excluded from that logic, without necessarily agreeing that only Blacks suffer gratuitous violence, or that the violence inflicted on other social groups is always and inevitably contingent.

Take for instance the post-conquest treatment of the indigenous peoples of the Americas, or more generally colonial violence. Addressing the “Native American genocide,” Wilderson acknowledges that “there are pre-logical or libidinal elements to the murder of eighteen million people–to be sure. But,” he continues, “land acquisition and usurpation give the genocide a kind of coherence and reasonableness” (219; emphasis added). Here that qualification that this is only “a kind of” reasonableness is doing a lot of work, and elsewhere even such qualification is absent as when (only a few pages later) Wilderson posits that “I know that I am not Black because when and if I experience the kind of violence Blacks experience there is a reason, some contingent transgression” (225; emphasis in the original). This is all too close to saying that such violence is indeed reasonable (or at least, that it has its reasons), when surely in fact there is always something in colonial violence–and likewise in the violence of anti-Semitism, misogyny, homophobia, and so on–that exceeds or undermines any possible reason. Conversely, it is surely also true that reasons have been adduced to justify slavery, however rephrehensible those reasons may be, mere figleaves for motivations grounded in what Wilderson denotes as “libidinal economy,” but without them there would never have been debates between slavers and abolitionists; without them, the tireless campaigning of someone like Fredrick Douglass would have been literally senseless.

In Wilderson’s book, the argument that Blacks are not (simply) the foil of Humanity is put most eloquently by the author’s mother, and her critique goes unanswered when she tells her son that “she wasn’t anybody’s slave, and that even when our ancestors were slaves they were Human beings” (329). Wilderson’s response is an uneasy joke (with reference to his white wife, “’Being Human isn’t anything to aspire to,’ I said. ‘Just ask Alice’” [329]). A better rejoinder might have been the observation that they weren’t simply Human beings, and that Afropessimism is interested in operationalizing the gap between Human and Black. But one would have to add that, as the old feminist slogan indicates, such a gap between Human and non-Human traverses many social groups, and perhaps ultimately all of us in one way or another. And to say this is not to assert any false equivalence, any reactionary equalization along the lines of “All Lives Matter.” On the contrary: the gap between any violence to which I may potentially be subject and the violence of slavery (whether historical or ongoing) is incommensurable. But as is attested by Wilderson’s own frequent recourse in this book to autobiographical stories (of his childhood in Minnesota, of a breakdown in Berkeley, or of his experiences in South Africa, for instance), the trace of that incommensurability is to be found in narrative, in history, even if it also always subverts and escapes them.

In short, Wilderson concedes all too much to hegemony, as though it fully (and implicitly without remainder) explained all other forms of oppression and violence that are not anti-Black violence. And at the same time, he could do more to think through the relationship, however contingent, between the anti- or non- (post?) hegemonic position that he ascribes to Blackness and the discursive procedures, his own included, by which that position is both acknowledged and inevitably disavowed. This may win no more friends, but it might suggest a theory of friendship (fleeting or otherwise) that could suggest paths to common programs without the mystifications of solidarity.

Balún Canán II

Balún Canán cover

The seeds of the disaster sown or foreseen in the first half of Balún Canán are well and truly reaped in the second. Characters drop like flies: the illegitimate nephew Ernesto, cousin Matilde, and ultimately even the son and prospective heir Mario. Meanwhile, the country estate is devoured by fire and the family forced to retreat to the relative safety of Comitán, only for the patriarch César to head off to the regional capital, Tuxtla. Here he bakes in a flea-bitten hotel room with a broken fan as he futilely seeks an audience with the Governor of Chiapas. What’s more, in Tuxtla “it’s hard to distinguish, at first sight, between a señor and anyone else”; in fact “there aren’t really any señores in the strict sense of the term” (229). The whole hierarchical system has shifted, and César finds himself rather nearer the bottom of the pecking order than he would like. But why bother even to save the ancestral estate when, in Comitán, without him, the family is falling apart and coming to what might as well be a dead end. Which is not even the worst of all possible worlds. For family friend Jaime Rovelo, it’s better that the son die than that he turn against all the family stands for, as his own son has with his “belief in these new theories, Communism or whatever you call it” (231).

But there is little to nothing in the way of triumphalism in the novel. Indeed, it ends with a predominant tone of shame and even guilt. For finally the older daughter, whose presence in the novel has been otherwise almost spectral, not only takes up the reins of the narration again in the final section but also intervenes in the plot itself. Or perhaps she does. She hides the key to the chapel in which the children are due to have their first communion. Scared off by the priest and by a prevailing Christian discourse of fire and brimstone (“You need to know the essential thing: That there is a hell” [249]), Mario has told his sister that he doesn’t want to take communion (255). So by misplacing the key, she’s acting on his behalf. But Mario, always weak (and if it weren’t for the fact that he’s the designated Argüello heir, as much of a non-entity as his un-named sister), takes a turn for the worse, causing consternation in the household. In his delirium, apparently he keeps returning to what his sister has done. His mother reports, without understanding or really taking him seriously: “I don’t know what he’s saying about a key. All night he was saying the same thing over and over” (262). So the daughter seems to feel that she is responsible for his decline and (ultimately) death. “It’s not Mario,” she says by his coffin, “It’s my guilt that’s rotting away at the bottom of that box” (277). And then she asks to go to family tomb, where she leaves the chapel key while saying a prayer, not so much to God as to the forefathers with whom Mario will now be in perpetuity, “that they be good” with him, “that they play with him, that they spend time with him. Because now that I know the taste of loneliness I don’t want him to have to try it” (283). The book ends, then, with a double scene of mis/recognition. Out on the street, the narrator thinks that she sees her old nurse, but it turns out that she’s wrong and that “all Indians have the same face” (285). Back in the house, she then inscribes Mario’s name on any surface to hand, bricks, walls, a notebook, “because Mario is far away. And I’d like to ask him for forgiveness” (286).

But if this is the daughter’s intervention into the plot, her belated grasp at subjectivity as she acts on behalf of her brother only (perhaps) to provoke his final sickness, then it’s strangely equivocal. For it is something like a hidden plot, an action that goes almost totally unseen. The mother, after all, is convinced that the cause of her son’s illness and death is witchcraft: the Indians back at the ranch have cast some kind of spell over him. The reader may attribute his decline to something more mundane, such as appendicitis. His sister’s responsibility, and her shame and guilt, escape and silently defy both possibilities. What, in any case, is the source of her guilt? Is it that she has caused his death? That she has allowed him to die without the blessing of a first communion? Or simply that she has left him on his own, albeit in the name of freeing him from both the institution of the church and the weight of inheritance, of an older and more deeply embedded shame: the guilt pertaining to the entire class of white landowners. The sister then cannot escape her own shame, the disgraceful fact that she is no longer able to recognize the woman who suckled her, prayed for her, and raised her. She has to live with that guilt and betrayal, and she has to bear it without Mario by her side, and without its even being noted or acknowledged by anyone else around her. The daughter, the un-named narrator, has finally assumed her role as a sense of conscience that will forever, Cassandra-like, be silenced or ignored.

Asian

After a fun class yesterday on Neruda, in which students acted out Poem 15 from Veinte poemas de amor and then wrote letters or poems to the poet from the point of view of the woman or women he addresses (my favorite: “¿Pór que no te callas tú de vez en cuando?”), I was extolling the virtues of UBC undergraduates to some friends.

As further evidence, my buddy Alec mentioned the following video, produced by a UBC class in response to a now somewhat infamous article in Maclean’s arguing that Canadian universities are “too Asian”:

For more, see Tetsuro Shigematsu’s account of the making of the video, “Too Asian?”, and Brian Lamb’s take, “Is UBC ‘too Asian’? Let’s sing and find out”.

bigot

Well, yes, she is a bigot.

As Milena Popova points out (but sadly precious few others), what Gillian Dufffy said was indeed unacceptable.

Indeed, Duffy herself knows it. Here’s the interesting thing: she presents her xenophobic comments as though she were bravely speaking out in the face of some tyranny of political correctness:

You can’t say anything about the immigrants because you’re saying that you’re… all these Eastern Europeans what are coming in, where are they flocking from?

Presumably the ellipsis here indicates that “you can’t say anything” about immigration because (surprise surprise!) you’ll only be accused of racism.

Sadly, however, “Bigotgate” proves the opposite.

Gordon Brown can only point out anti-immigrant bigotry in what he assumes to be the privacy of the back seat of his campaign car. And when it turns out that this candid moment was overheard by Sky News’s microphone, he cravenly apologizes (first on air, then in person) rather than simply making the point more eloquently and forcefully in public than in private.

Meanwhile, once again in the leader’s debate Brown competes with Cameron to present himself as more forcefully against immigration even than Clegg’s tepid proposal for a regional points-based policy and the occasional amnesty.

It is as though the BNP and the Daily Mail had fully succeeded in setting the agenda on immigration. For some reason it is now impossible, except (supposedly) discreetly and in private, to point out the everyday bigotry that blights British public discourse.

This is a craven capitulation by a political class that should and (as Brown’s indiscretion shows) actually does know better.

And it foments a strangely unabashed xenophobia that hesitates only briefly to announce itself, like a nervous tic, before continuing on regardless: “I know this is racist, but I’ll say it none the less and I dare you to correct me…”

celebration

It’s three in the morning, many hours after the Winter Olympics came to a close and (more to the point) long after Sid “the Kid” Crosby scored the dramatic overtime goal that gave Team Canada its final, and most dearly coveted, gold medal by beating the USA at (ice) hockey.

Yet even now I can hear the shouts and celebrations on the streets of downtown Vancouver below my apartment window. And I don’t even live that close to the epicenter of the extraordinary street party that broke out as soon as that puck entered the net. The celebrations are no doubt in full swing on Granville and Robson Streets, some six or seven blocks away.

In the afternoon and early evening, the so-called Granville Entertainment District and nearby Robson Square were mobbed with thousands of mostly red-and-white clad revelers, chanting “Go Canada Go” or “Crosby, Crosby, Crosby,” giving each other high fives and hugs, ringing cowbells and hooting horns, climbing lampposts and bus shelters, and bursting into impromptu renditions of “O Canada!”


This notoriously reticent and self-effacing country has perhaps finally learned the trappings and gestures of nationalism. Of course, Canadians have always quietly considered themselves superior; but the emphasis has been on the quiet sense of distinction. Indeed, the exuberant displays of pride visible over the past few hours would previously have been considered to be precisely the kind of gauche jingoism that Canada had associated with other, more vulgar and less civilized nations.

So one consequence of all the flag-waving and chanting is that Canadians may be a little less smug in the future: they’ve shown that they can be just as blindly patriotic as (say) their neighbors to the south. As they become more ostentatiously Canadian, they undermine that sense of entitlement that comes precisely from the notion that “ostentatious” and “Canadian” are two words that don’t really belong in the same sentence.

The more visibly Canadian they become, the less “Canadian” they actually are.

And perhaps it’s for this reason that so many of the most visibly and audibly frenetic of the revelers were the so-called “new” Canadians, the relatively recent immigrants (and their children) from China, Japan, India, and so on.

Vancouver is, after all, an extraordinarily multicultural city; about 40% of its inhabitants were born outside of Canada, most of whom come from Asia though with a significant proportion also from places such as Southern or Central Europe. And yet there are times when this is not so obvious: the various ethnic groups are parceled out around the city and a huge number of Chinese Canadians, for instance, live and work in suburbs such as Richmond, just to the south.

Yet it was clear that very many of the crowds who poured across the bridges (some of which were soon closed to vehicular traffic because of the sheer numbers of pedestrians) to get to the downtown peninsula came from precisely these outlying suburbs.


I wonder if this is because painting your face with a maple leaf or waving the flag from a hockey stick is a form of nationalism that is more available to new immigrants than the rather more insidious distanced self-regard that has hitherto characterized Canadians’ sense of themselves. It is a habitus that can more easily be picked up or (better) incarnated, whatever one’s background or skin color.

In any case, with the Olympic celebrations, and with the multitude that packed its thoroughfares to shout and holler, Vancouver city center felt distinctly less white than it does on a regular business day.

And it is certain that the experience of the Olympic Canada (literally) on the streets was much more multiracial than the image presented by either the opening or the closing ceremonies, both of which gave us only a tokenism towards First Nations as a flimsy cover for an otherwise overwhelmingly white and European depiction of the country. (As many have pointed out, for instance, there was no official recognition at all of Asian Canada during the opening ceremony held in this most Asian of Canadian cities.)

Almost four years ago, and while recognizing all the legitimate critiques of this over-commercialized festival brought to us by Coke and Visa, I asked “why not rescue something of the (perhaps utopian) commonality that still resides in the Olympics, rather than, inaccurately, damning them as simply another set of enclosures?”

It seems to me that we have indeed seen some of this utopian commonality in action on the streets of Vancouver over the past couple of weeks, albeit (ironically) ultimately clad in a maple-leaf flag. And we have seen both its distance from the official representation as well as the ways in which it potentially challenges, transforms, and ultimately undermines the national symbols around which it seems, superficially perhaps, to be organized.

Update: Mike Cowie says something similar about this being an Olympics on and of the streets.

negative

Journey to Nowhere coverAbout halfway through Shiva Naipaul’s Journey to Nowhere, the author finds himself at a “New Earth Exposition” in San Francisco, confronted with a panoply of hippies and New Agers as well as people he describes as “shaggy feminists, liberated homosexuals” and “earnest, mustachioed teachers worried about Energy” (188). He falls into conversation with a succession of representatives of the “World Hunger Project,” one of whom remarks “I can see you’re a pretty negative type, Shiva. [. . .] You’re hung up on logic and all that kind of bullshit” (198). For Naipaul, this is one of those moments when the deluded proponents of alternative lifestyles condemn themselves, leaving little more to be said. But there’s no doubt that the hippy was right about one thing: Shiva is certainly a “pretty negative type.”

Journey to Nowhere is an account of the Jonestown disaster (about which I’ve written before). Naipaul’s book, published in 1980, is written almost in the immediate aftermath of the disaster, and indeed he visits Guyana just a couple of weeks after this “revolutionary suicide” of almost a thousand Americans, at a time when there is still much press interest in the events.

What makes Naipaul’s approach different is that he believes that hitherto the blame has not been spread widely enough. “No one,” he argues, “accepted any measure of personal responsibility for what had happened” (228). For instance, he quotes numerous survivors and defectors from the People’s Temple but notes that not a single one “has ever admitted any culpability for the carnage that occurred at Jonestown. Not one has ever conceded that past complicities may have contributed to the Guyana tragedy” (157). This was no case of simple brainwashing on the part of a devious would-be messiah, Naipaul tells us; they were in fact all in it together. What’s more, even the so-called “Concerned Relatives” are almost as much to blame as the people they ultimately failed to save: “by their words and action, they helped create the conditions” for the mass suicide; “their hysteria goaded [the People’s Temple] toward extinction” (156).

But the blame is ultimately spread much further still. Naipaul has little truck for the notion that Jonestown is a case of utopian idealism that somewhere went wrong. He finds fault with the idealism in the first place, which “had already gone wrong [. . .] eaten up with inner decay” (297). Hence the seeds of Jonestown’s destruction are already found in San Francisco’s “New Age Exposition,” Los Angeles hedonism, Berkeley’s student radicalism, and Oakland’s Black Panthers. California, that glittering, sun-drenched mirage, turns out to be the setting for wholesale “intellectual and spiritual collapse” (208), a place where “the intellect was dead and its place taken by a set of shared pathological obsessions” (211). Moreover, Naipaul wants us to take the metaphor of sickness seriously: “ideas had indeed become viruses” (211); “they were a disease you caught; a contamination of the intellect” (196).

California, however, is simply the concentration of a set of obsessions and pathologies that are distinctively American, a “laboratory” (199) in which all that is wrong with the country comes to the surface: “America’s wilder dreams have always rolled to the Far West. Fantasies flourish best in a warm, sensual climate” (202). And so it was with Jim Jones and his followers. It was not just that they had been infected by some Californian contagion; they had brought the madness with them in their trek (which Naipaul repeatedly calls a “hegira”) from Indiana and the Middle West. For everything “was already in place when Jones left Indianapolis for the Redwood Valley. Those who were received into its inner circles knowingly recruited themselves into corruption” (249).

It gets worse. There’s a reason why Naipaul subtitles his book “A New World Tragedy”: he sees Jonestown as an indictment of the Americas as a whole. This is no simple anti-Americanism in which the vices of the dominant are mocked or denounced. If anything, it is the dominated, and particularly the blacks who figured so strongly in Jones’s multiracial vision, who are to blame. Was it not Huey Newton who came up with the notion of “revolutionary suicide”? Had not “the basic groundwork [for Jones’s fatal paranoia] been done by his black radical precursors” (288)? What the People’s Temple suffered from, in the end, was “an intolerably aggravated racial consciousness. [. . .] The Temple was the disease it claimed to be fighting. In that lay its most hopeless corruption” (249).

Hence the appropriateness of the Guyanese setting for the final denouement. Naipaul portrays Guyana as a sort of Jonestown in macrocosm, ruled over by a paranoid leader (Forbes Burnham), in thrall to ideologies of black consciousness and socialist cooperation (a “Cooperative Socialist Republic”), suspicious of visitors who are subjected to surveillance and vacuous propaganda. Guyana, like the People’s Temple, is a place of “degeneracy,” of “moral decay” (105), of “a kind of universal mental retardation” (31). Or perhaps not quite universal: Naipaul describes going to a party in Georgetown where his host’s enervated young English wife dances with him and whispers in his ear “Take me away with you! You must take me way from here! [. . .] Every night I dream it’s my turn to drink the poison” (111). Coming from Trinidad, it is as though Naipaul is a “concerned relative” aghast at what he repeatedly terms the “cultural and intellectual regression” born of “the vocabulary of resentment and racial self-assertion” (26).

The figure to whom Naipaul ultimately resorts to understand Guyana (and so by extension Jonestown) is, perhaps unsurprisingly, that of the first black post-independence leader in the Americas: “In the Caribbean, only Haiti could furnish parallels to this almost complete subversion of government: King Christophe had been reborn” (39).

Finally, however, it would be worth putting to Naipaul the same question that he implicitly puts to the concerned relatives of Jonestown. Is not his own description of the postcolonial Americas, with the “riffraff” (27) like “animals” (17) in the grip of nefarious ideologies of racial and cultural empowerment amidst a “jungly nightmare” (13) . . . is all this not a little hysterical? Indeed, has not Naipaul rather lost touch of his much-prized “logic and all that bullshit” in his total negativity towards the Americas and any possible dream of liberation or social justice?

tension

There is the interior of Guyana, explored by Evelyn Waugh, and then there is the coastal strip that stretches from the capital, Georgetown, to the Suriname border. The former is, even now, a vast swathe of jungle and savannah thinly populated by indigenous groups and the occasional ranch. There is some logging, some mineral and gold extraction, and increasing amounts of ecotourism, but essentially it is wilderness with just the one unmade road leading to Lethem and the Brazilian border.

The coast, however, has a reasonably well-made road to Corriverton and Moleson Creek in the East, and even a brand-new bridge spanning the Berbice river that means that you can now drive the whole way without taking a ferry. Moreover, strung out along the road are an endless succession of small settlements; indeed, it might be better to say that the entire road is one long, thin, ribbony settlement that stretches for well over a hundred miles.

Taxis and minibuses zip along the road at surprising speed, though drivers have always to be alert to avoid potholes, stray dogs, cows, or other livestock. Guyana is an untidy country (the contrast with neighbouring Suriname is noticeable) and nothing quite stays in its place. The route is also marked, especially in the straggling suburbs of Georgetown, by a profusion of mosques and temples, a reminder that up to two thirds of the population (the highest proportion in the Caribbean) is of East Indian descent.


Indeed, the country’s politics (and to some extent also its culture) are inflected by a simmering tension between black and East Indian that has to be almost unique (though perhaps nearby Trinidad is somewhat similar). Political parties are organized on racial lines and, during election periods at least, exacerbate the differences between the two communities to the point of encouraging sporadic intercommunal violence. At other times the tension is much more muted, though apparently when the Indian cricket team comes to town they are not without supporters among the local South Asian population even though some of the most prominent current West Indies players (such as Shivnarine Chanderpaul and Ramnaresh Sarwan) are also of East Indian origin.

It is unique because I can’t think of another example (though I’m willing to be corrected) of a postcolonial society so structured by a tension not between colonizer and colonized but between two groups imported into the colonial situation by the colonizers–the blacks as slaves, and the East Indians as indentured labor. Of course, colonialism and more generally capital has often thrived on playing off the differences between immigrant groups, such as between the Italians and Irish in the Northeastern United States. But here, with the indigenous a tiny minority in the interior and the whites effectively absent, this has now become the primary political and social difference.

Guyana wants to present itself as a model multicultural postcolonial society. Its capital features an “Umana Yana,” a huge indigenous hut built for the 1972 Non-Aligned Foreign Ministers Conference, as well as a monument to the Non-Aligned Movement itself, with busts of its founders Nasser, Nkrumah, Nehru, and Tito. No doubt for the most part the messy, sprawling community that stretches along the coastal road is a good instance of everyday cooperation and exuberant hybridization between the various communities that make up the country. But there are plenty of reminders that colonialism’s “divide and rule” policies run deep, even once the rulers have packed up and gone home.