In the push and pull 1 between demarcation and resemblance, we can see the performance of colonial identity as a permanent stage set in which reciprocal, interdependent ensemble cast members take turns making History, forging a narrative that is by turns individual and collective but by no means changing or changeable, a revolutionary war game robbed of actual social and political exigency. Frantz Fanon makes this explicit in his opening chapter to The Wretched of the Earth : an argument out of the exchange, submission, and ultimately, repetition of the colonial spectacle, an experience whereby nothing is new, only newly arranged. This dependence upon the scene of oppression is unceasing; even at the moment of decolonization, it is the colonized who seeks to replace the colonizer, to reverse the roles, to balance the equation through substitution; in order to exist then, to keep existing, one must be two: co-existing. Put another way, under the spotlight of History, any actor must be required to swap one role for another, to keep playing the game, for the sake of the performance, for the performance to come off right. Fanon, knew, however, that in the colonial screenplay, the slave abandons the object; the slave turns toward the master because the slave wants to be the master. Everything in fact, must be swapped, substituted, exchanged.
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Discover new books on Goodreads. Sign in with Facebook Sign in options. Join Goodreads. Want to Read saving…. Want to Read Currently Reading Read. Error rating book. Refresh and try again. Naked Lunch by William S. Burroughs ,.