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Oeuvres completes de Jacques Roumain (review)

Looking at nineteenth-century Cuba, Fischer begins her inquiry with the trial of the free black antislavery conspirator José Aponte and then continues with a discussion of Cuban popular and elite artistic expression of the period. In part 2 of her study, she uses a psychoanalytic lens to examine the Dominican response to the trauma of “having been modernized by those who were meant to be slaves” (168). The third and fi nal part of Fischer’s study concerns Haiti itself. Here Fischer sets out to counter past dismissiveness and to establish the Haitian Revolution as intrinsically modern. Emphasizing the complexity of Haiti’s postrevolutionary agenda—its juxtaposing of universalism and particularism, engagement in acts of renaming, and explicit politicization of racial categories—Fischer reveals the at once republican and pan-Africanist objectives at the heart of Haitian nationalism. In effect, Modernity Disavowed reconciles these and other strands of Haitian modernity, highlighting the Revolution’s profound historical resonance and refusing to accept the long history of its disavowal.