Frantz Fanon. Christopher J. Lee

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СКАЧАТЬ tradition fundamentally informed the French phenomenology and existentialism that Fanon encountered. Being and Nothingness (1943) by Sartre and Phenomenology of Perception (1945) by Merleau-Ponty outlined French variations of these philosophical approaches, stressing the importance of personal experience and perception for self-realization. These ideas soon reached a popular audience, with Sartre’s Anti-Semite and Jew (1946) and de Beauvoir’s The Second Sex (1949) powerfully utilizing the roles of public perception and regard for understanding the construction of specific social group identities, rather than dwelling on the individual alone.

      This burst of philosophical inquiry held considerable appeal for a European intelligentsia recovering from the devastating effects of a war that had destroyed much of the continent physically, culturally, and morally. The notion of an indifferent world as conveyed by existentialism resonated with a public coping with the aftermath of violence and genocide—a sentiment reinforced by the absurdism and nihilism in popular fiction like Camus’s The Stranger (1942), set in his native Algeria.²³ Existentialism’s argument for free will, which drew on Friedrich Nietzsche (1844–1900) as well as Kierkegaard, and the concurrent need to recognize and work against “bad faith”—a practice of self-deception defined by aspirations to meet generic social standards or political demands, but ultimately preventing individual fulfillment—provided one answer for creating meaning in an uncertain postwar era.²⁴

      This prescription for self-actualization caught the attention of Fanon, as it did for so many—as did the bridging of academic and public realms. Indeed, Fanon’s interest in phenomenology and existentialism is readily understandable, given his early engagement with Négritude and surrealism through Aimé Césaire. Like psychiatry and these aesthetic movements, the philosophical approaches of phenomenology and existentialism drew on notions of the conscious and the unconscious and the vital importance in understanding these realms to advance and consummate self-understanding. Fanon’s early attempts at writing included plays in the vein of Sartre’s existential dramas. But these philosophical influences had a greater bearing on the manuscript that would result in Black Skin, White Masks, which soon preoccupied him—as did rapid developments in his personal and professional life.

      Fanon became romantically involved with two women during this period—experiences that likely informed his essays on gender and interracial relationships in his first book. Fanon had one child, Mireille, out of wedlock with a fellow medical student in 1948. His eventual neglect of this relationship can be attributed to the relationship he soon had with his future wife, Marie-Josephe Dublé (1931–1989), better known as Josie Fanon, whom he met in 1949.²⁵ Dublé came from a politically progressive background; her parents were trade unionists. Fanon and Dublé married in 1952. These personal changes overlapped with several equally fast professional transitions.

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