Frantz Fanon’s analysis of white negrophobic women’s masochistic sexuality and sexual fantasies in Black Skin, White Masks, is, as T. Denean Sharpley-Whiting notes, among his most contentious work for feminists. Susan Brownmiller, in her 1975 classic Against Our Will: Men, Women and Rape, charges Fanon not only with hating women but also with being personally confused and anguished, on account of this portion of the text. In this essay, I examine Fanon’s approach to theorizing white female negrophobia in light of (...) his sociogenic project and the Freudian psychoanalytic tradition with which he was working; I also take a close look at his potentially most problematic remarks, from a feminist angle. I argue against Brownmiller's interpretation of Fanon as condoning rape or expressing personal attitudes through these lines, maintaining instead that he is ultimately calling for psycho-affective change. (shrink)

This paper revisits Fanon’s relationship with psychoanalysis, specifically Lacanian psychoanalysis, via a close reading of his rhetorics of childhood – primarily as mobilized by the ‘Look, a Negro!’ scenario from Black Skin, White Masks, the traumatogenic scene which installs the black man’s sense of alienation from his own body and his inferiority. While this scene has been much discussed, the role accorded the child in this has attracted little attention. This paper focuses on the role and positioning of the child (...) to reconsider Fanon’s ideas, in relation to his contribution to the social constitution of subjectivity, arguing that reading Fanon alongside both his citations of Lacan and some aspects of Lacanian theory opens up further interpretive possibilities in teasing out tensions in Fanon’s writing around models of subjectivity. Finally, it is argued that it is where Fanon retains an indeterminacy surrounding the child that he is most politically fruitful. (shrink)