Week Six: A Creative Revolution in Zobel’s “Black Shack Alley”
by samuel wallace
In the context of French history, Black Shack Alley is a remarkable time piece. With the unique perspective of the French-Caribbean, Zobel analyzes the effects of revolts: the aftermath of the French Revolution which changed the world in regards to viewing dynasties and absolutism as negatives; the subsequent slave revolts in Haiti which struck pointedly at the colonialism which sustained them. There is a void left in the place of monarchies and the rule of the few. It is therefore through the eyes of the oppressed one can see a distinct return to the unfulfilled revolutionary promises of the 18th century.
Unrivalled by all (except perhaps Albert Camus and the contemporary struggle for Arab liberation in Algeria), one can see a novel approach in the way colonization and circumstance drives the plot. Haiti, a liberated colony, serves as the backdrop for a story concerning suppressed voices throughout history. It is set in a period of decolonization which took place in the 20th century, and this mirrors the bildungsroman—a term describing the growth of the artist—of the protagonist José. This is shown in his love of reading, used to escape “the destiny of one born in Black Shack Alley” (pg. 181). Literacy among Blacks was very low at the time. By revealing oneself as educated, it is not only seen as a betterment of one’s low lot in life—to use a phrase from George Orwell, it is a revolutionary act.
Dislocation of the slave trade lends itself to the disillusionment of not just José and his kin, but the individual as an artist. His family is originally from Africa, and so retains a certain affinity for banners neither French nor so-called liberated Caribbean; the roots of slavery, as it turns out, run deeper than any nationale.
When speaking of their true home, it is described as “another country even further away, even deeper than France [. . .] that of his father: Guinea” (pg. 36). Later on, the tradition of oratory is evidenced in the Creole population despite a lack of literacy. This institutional blockade evidences a conscious attempt on the part of the collective to silence voices, believing their stories hold less value than traditional European tales.
Nonetheless, with the oppressed servant in one ear and the inspired artist in the other, one finds a confluence; their voices are soon heard. “Assionis would be relating stories and would play his drum with a soul full of compassion and with frenzied inspiration” (pg. 219). Although not a direct decrying of borders and states, there is misplacement felt on the part of the marginalised. And when placed alongside the role of the artist in society, the intention of Zobel cannot be viewed as a call to tear down corrupt societies, but rather rebuild them with the freedom of all individuals in mind.
Thanks for this Sam, but either I’m a little confused, or perhaps you are… the book is not set in Haiti, but rather in Martinique. A comparison of the history of the two countries is interesting, but they are quite different.
Meanwhile, you mention Algeria… the person I briefly talked about in class yesterday, Frantz Fanon, author of Black Skins, White Masks, eventually moved to Algeria and become involved in the struggle against colonization there. He wrote another very important book about his experiences in North Africa: The Wretched of the Earth.
There are some interesting points in your post. I think the idea of having an education as a revolutionary act is a good way to look at things. It seems that there were different ways that people could establish themselves even in situations where it seemed hopeless.