By John E. Drabinski, Marisa Parham

This edited assortment gathers jointly prime commentators at the paintings of Édouard Glissant as a way to theorize the philosophical value of his paintings.

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Britton, Celia. Édouard Glissant and Postcolonial TheO/J!. Charlottesville: University of Virginia Press, 1999. BU~lS, Loma. 'Becoming-postcolonial, becoming-Caribbean: Édouard Glissant and the poetics ofcreolization'. In Textual Practice, 23:1 (2009),99-117. Crowley, Patrick. 'Édouard Glissant: Resistance and Opacité'. In Romance Studies, 24:2 (July 2006), 105-15. Dash, J. Michael. Introduction to Caribbean Discourse: Selected EsscZ)'s, by Édouard Glissant. Trans. J. Michael Dash. Charlottesville: University ofVirginia Press, 1989.

Ni réminiscences ni transcendance: l"actual'. (76) [Escaped from the temple of books, man rediscovers out there this immanence ofthings, which solicits him and inc1udes him. Ta unbind the spiritfrom this ritornello In Citation to the Chance 39 One must head directly without condition Tmvard a life more real. Dull and heavy labor, exploration of the depths. And the poem 'must stand up, painfuIly, from down below'. Live the world. ] Or ce que l'être veut rejoindre bouge à son tour intensément, échappe, 'tout est toujours debout prêt à partir'; et l'homme demeure rivé stagnant au plein de ce frissonnant devenir, En attendant que quleque chose arrive On se sait quoi.

Like the perception of objects in the landscape, our ideas are partly derived from the concrete materials outside us; in such a manner, the material reality, and thus actionable potential, of the document of the poem resides in its spirit as weIl as its letter. Eatih relates our spirits-Char realizes this: Although the poet knows that night exists, 'il n'y a qu'aurore et matin. C'est là un choix délibéré de sa poètique' (there is but dawn and mon1ing. That is the deliberate choice of his poetics) (82).

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