{"id":533,"date":"2014-06-19T13:23:31","date_gmt":"2014-06-19T13:23:31","guid":{"rendered":"http:\/\/scholarblogs.emory.edu\/postcolonialstudies\/?p=533"},"modified":"2017-10-28T18:13:44","modified_gmt":"2017-10-28T18:13:44","slug":"fanon-frantz","status":"publish","type":"post","link":"https:\/\/scholarblogs.emory.edu\/postcolonialstudies\/2014\/06\/19\/fanon-frantz\/","title":{"rendered":"Fanon, Frantz"},"content":{"rendered":"

Biography<\/h3>\n
\"Image<\/a>
Image by Pacha J. Willka\/CC licensed<\/figcaption><\/figure>\n

Frantz Fanon\u2019s relatively short life yielded two potent and influential statements of anti-colonial revolutionary thought,\u00a0Black Skin, White Masks<\/em>\u00a0(1952) and\u00a0The Wretched of the Earth<\/em>\u00a0(1961). These works have made Fanon one of the most prominent contributors to the field of postcolonial studies.<\/p>\n

Fanon was born in 1925, to a middle-class family in the French colony of Martinique. He left Martinique in 1943, when he volunteered to fight with the Free French in World War II, and he remained in France after the war to study medicine and psychiatry on scholarship in Lyon. Here he began writing political essays and plays, and he married a Frenchwoman, Jose Duble. Before he left France, Fanon had already published his first analysis of the effects of racism and colonization,\u00a0Black Skin, White Masks\u00a0(BSWM<\/em>),\u00a0<\/em><\/em>originally titled\u00a0\u201cAn Essay for the Disalienation of Blacks,\u201d\u00a0<\/em><\/em>in part based on his lectures and experiences in Lyon (see Representation<\/a>, Essentialism<\/a>, Anglophilia<\/a>).<\/p>\n

BSWM<\/em>\u00a0is part manifesto, part analysis; it both presents Fanon\u2019s personal experience as a black intellectual in a whitened world and elaborates the ways in which the colonizer\/colonized relationship is normalized as psychology. Because of his schooling and cultural background, the young Fanon conceived of himself as French, and the disorientation he felt after his initial encounter with French racism decisively shaped his psychological theories about culture. Fanon inflects his medical and psychological practice with the understanding that racism generates harmful psychological constructs that both blind the black man to his subjection to a universalized white norm and alienate his consciousness. A racist culture prohibits psychological health in the black man.<\/p>\n

\"Black<\/a>
Black Skin, White Masks, 1952<\/figcaption><\/figure>\n

For Fanon, being colonized by a\u00a0language<\/a>\u00a0has larger implications for one\u2019s consciousness: \u201cTo speak \u2026 means above all to assume a culture, to support the weight of a civilization\u201d (17-18). Speaking French means that one accepts, or is coerced into accepting, the collective consciousness of the French, which identifies blackness with evil and sin. In an attempt to escape the association of blackness with evil, the black man dons a white mask, or thinks of himself as a universal subject equally participating in a society that advocates an equality supposedly abstracted from personal appearance. Cultural values are internalized, or \u201cepidermalized\u201d into consciousness, creating a fundamental disjuncture between the black man\u2019s consciousness and his body. Under these conditions, the black man is necessarily alienated from himself (see Colonial Education<\/a>).<\/p>\n

Fanon insists, however, that the category \u201cwhite\u201d depends for its stability on its negation, \u201cblack.\u201d Neither exists without the other, and both come into being at the moment of imperial conquest (see Orientalism<\/a>). Thus, Fanon locates the historical point at which certain psychological formations became possible, and he provides an important analysis of how historically-bound cultural systems, such as the Orientalist discourse Edward Said describes, can perpetuate themselves as psychology. While Fanon charts the psychological oppression of black men, his book should not be taken as an accurate portrait of the oppression of black women under similar conditions. The work of feminists in postcolonial studies undercuts Fanon\u2019s simplistic and unsympathetic portrait of the black woman\u2019s complicity in colonization (see Spivak<\/a>, Gender and Nation<\/a>, Chicana Feminism<\/a>, Third World and Third World Women<\/a>, Angela Davis<\/a>).<\/p>\n

\"A<\/a>
A Dying Colonialism, 1959.<\/figcaption><\/figure>\n

In 1953, Fanon became head of the psychiatry department at the Blida-Joinville Hospital in Algeria, where he instituted reform in patient care and desegregated the wards. During his tenure in Blida, the war for Algerian independence broke out, and Fanon was horrified by the stories of torture his patients \u2014 both French torturers and Algerian torture victims \u2014 told him. The Algerian War consolidated Fanon\u2019s alienation from the French imperial viewpoint, and in 1956 he formally resigned his post with the French government to work for the Algerian cause. His letter of resignation encapsulates his theory of the psychology of colonial domination, and pronounces the colonial mission incompatible with ethical psychiatric practice: \u201cIf psychiatry is the medical technique that aims to enable man no longer to be a stranger to his environment, I owe it to myself to affirm that the Arab, permanently an alien in his own country, lives in a state of absolute depersonalization \u2026 The events in Algeria are the logical consequence of an abortive attempt to decerebralize a people\u201d (Toward the African Revolution<\/em>\u00a053) (see Geography and Empire<\/a>, Maps in Colonialism<\/a>).<\/p>\n

Following his resignation, Fanon fled to Tunisia and began working openly with the Algerian independence movement. In addition to seeing patients, Fanon wrote about the movement for a number of publications, including Sartre\u2019s\u00a0Les Temps Modernes<\/em>,\u00a0Presence Africaine<\/em>, and the FLN newspaper\u00a0el Moudjahid<\/em>; some of his work from this period was collected posthumously as\u00a0Toward the African Revolution<\/em>\u00a0(1964). But Fanon\u2019s work for Algerian independence was not confined to writing. During his tenure as Ambassador to Ghana for the Provisional Algerian Government, he worked to establish a southern supply route for the Algerian army.<\/p>\n

While in Ghana, Fanon developed leukemia, and though encouraged by friends to rest, he refused. He completed his final and most fiery indictment of the colonial condition,\u00a0The Wretched of the Earth<\/em>, in 10 months, and the book was published by Jean-Paul Sartre in the year of his death. Fanon died at the National Institutes of Health in Bethesda, Maryland, where he had sought treatment for his cancer, on December 6, 1961. At his request, his body was returned to Algeria and buried with honors by the Algerian National Army of Liberation.<\/p>\n

\"The<\/a>
The Wretched of the Earth, 1961.<\/figcaption><\/figure>\n

In\u00a0The Wretched of the Earth<\/em>, Fanon develops the Manichean perspective implicit in\u00a0BSWM<\/em>. To overcome the binary system in which black is bad and white is good, Fanon argues that an entirely new world must come into being. This utopian desire, to be absolutely free of the past, requires total revolution, \u201cabsolute violence\u201d (37). Violence purifies, destroying not only the category of white, but that of black too. According to Fanon, true revolution in Africa can only come from the peasants, or \u201cfellaheen.\u201d Putting peasants at the vanguard of the revolution reveals the influence of the FLN, who based their operations in the countryside, on Fanon\u2019s thinking. Furthermore, this emphasis on the rural underclass highlights Fanon\u2019s disgust with the greed and politicking of the comprador bourgeoisie in new African nations (see also Hegemony in Gramsci<\/a>). The brand of nationalism<\/a> espoused by these classes, and even by the urban proletariat, is insufficient for total revolution because such classes benefit from the economic structures of imperialism. Fanon claims that non-agrarian revolutions end when urban classes consolidate their own power, without remaking the entire system. In his faith in the African peasantry as well as his emphasis on language, Fanon anticipates the work of\u00a0Ng\u0169g\u0129 wa Thiong\u2019o<\/a>, who finds revolutionary artistic power among the peasants.<\/p>\n

Given Fanon\u2019s importance to postcolonial studies, the obituaries marking his death were small; the two inches of type offered by\u00a0The New York Times<\/em>\u00a0and\u00a0Le Monde<\/em>\u00a0inadequately describe his achievements and role. He has been influential in both leftist and anti-racist political movements, and all of his works were translated into English in the decade following his death. His work stands as an important influence on current postcolonial theorists, notably Homi Bhabha and Edward Said (see Mimicry, Ambivalence and Hybridity<\/a>, and Orientalism<\/a>).<\/p>\n

British director Isaac Julien\u2019s\u00a0Frantz Fanon: Black Skin, White Mask<\/a><\/em>\u00a0was released by California Newsreel in 1996. Weaving together interviews with family members and friends, documentary footage, readings from Fanon\u2019s work, and dramatizations of crucial moments in his life, the film reveals not just the facts of Fanon\u2019s brief and remarkably eventful life but his long and tortuous journey as well. In the course of the film, critics Stuart Hall and Fran\u00e7oise Verges position Fanon\u2019s work in his own time and draw out its implications for our own.<\/p>\n

Works by Frantz Fanon<\/h3>\n