...Sarah L. Lincoln Reading Patrick Chamoiseau's Texaco in terms of Joseph Meeker's notion of the “comedy of survival,” Lincoln argues that the text affirms the pragmatic necessities of survival and continued “opposition,” despite the evident impossibility of resistance at a time of political...

... . In them one finds a constant oscillation between a certain identity defining the Antillean man and his condition in opposition to other types, and an absence of identity. I have explored this contradiction, in relation to Texaco in particular, and the character of the mulatto in the whole...

... writers before him,3 some critics interpreted his groundbreaking novel Texaco in a way that brought to mind the critical reception of regionalism.4 These members of the Parisian literary circles emphasized the cultural specificities of the novel drawn from the history of the Martinican community...

..., and isolation to whatever degree possible. This idea of creolization as an uneven process of bricolage is particularly evident in Pat- rick Chamoiseau’s Texaco where he describes the dialogic process through which the Creole language evolved as a strategy of evasion, resistance...

...): 99–117; and Sarah L. Lincoln, “Conquering City: The Poetics of Possibility in Texaco ,” Small Axe , no. 36 (November 2011): 36. Celia Britton also insists on this openness while remaining wary of traces of essentialism. See Celia Britton, The Sense of Community in French Caribbean Fiction...

.... Explanatory footnotes become the place for playful games with references. 16 Some things are translated whereas others are not, without any indication of why. Chamoiseau's games with footnotes, notably in Texaco , play with cultural translation. He often lets footnotes introduce uncertainty, not clarity...

... College, New School for Liberal Arts. She is the author of Veillées pour les mots: Césaire, Chamoiseau, Condé (2004) and is the translator, with Val Vinokur, of Patrick Chamoiseau's Solibo Magnificent and Texaco and of Marie Vieux-Chauvet's Love, Anger, Madness . M att R ichardson...

... has long represented freedom, perhaps even more so than the rural “plot.” As Patrick Chamoiseau explains in the famous opening sentences of his 1992 novel Texaco , “To escape the night of slavery and colonialism, Martinique’s black slaves and mulattoes will, one generation after another, abandon...

... is an associate professor in the Department of Literary Studies at Eugene Lang College, the New School for Liberal Arts. She is the author of Veillées pour les mots: Césaire, Chamoiseau, Condé (2004) and is the translator, with Val Vinokur, of Patrick Chamoiseau's Solibo Magnificent (1997) and Texaco (1997...

... ‘Disaster, disaster, speak to me of the disaster.’” 47 Chamoiseau must have written Césaire, Perse, Glissant in some haste, for he shows in Texaco that he knows perfectly well who penned the lines from “Hoquet”; on page 357 he cites the same lines and attributes them correctly to Damas. 48...

..., in other words starting with d’Esnambuc and moving through the major dates, such as departmentalization. He proposed structures quite similar to those I used in Texaco, in which I tried to carve up time not according to colonialist dates but using materials—there are a whole series...

... magnifique is an ethnographer whose fieldwork on Martinican day laborers leads him into an investigation of how creole orality and storytelling intersect with French ideologies of national integration. More famously still, Chamoiseau’s 1992 Prix Goncourt–winning Texaco positions his protagonist, Marie...

... to have a paratactic structure, presumably to avoid giving way to the illusion of grasping a coherent whole and instead presenting parts of the whole, like the shantytown in Texaco . Or else he tends to single out an object or a phenomenon within the narrative flow, like the poetic description of how...

... Texaco was awarded the prestigious literary prize, the Prix Goncourt, in 1992.24 Moreover, in this later essay, Kundera admits that in the twentieth century, for the first time, the major initiatives and developments in the art of the European novel emerge from outside Europe:25...

... to bring the habitual cast of creole characters out of their nostalgic limbo and into the present: We looked for her all day, around Jean-Jaurès Avenue, Pont-de-Chaînes, Bord-de-Canal, Calvaire, Texaco, Morne-Pichevin—in short, all over the En-Ville. But neither Félix Soleil the djobeur , nor Rigobert...

... in the Caribbean and its engagement with the trope which became the central anti-colonial figure of the twentieth-century anticolonial nationalist period in the Caribbean—Caliban. Then of course there is the text’s own radical edge, as it is clearly not 17. Patrick Chamoiseau, Texaco...

... créoles by Raphaël Confiant and Patrick Chamoiseau. A mere three years after the awarding of the Goncourt Prize to Chamoiseau for his novel Texaco and of the Nobel Prize for Literature to Derek Walcott, this book revealed to Japanese intellectuals the literary, philosophical, and political stakes...

.... 31 Chancé suggests that three of Chamoiseau's novels— Chronique des sept misères , Solibo Magnifique , and Texaco —have markedly baroque aspects, while Biblique displays a tendency away from “baroquisme,” at least on the conceptual level: “L'univers … est moins baroque que sériel, rappelant les...

... of Patrick Chamoiseau’s novel Texaco (written in French Creole), Walcott wrote, “My hatred of the current way of writing down Creole (‘orthography’) is a lost battle, but my rage continues in defeat. Coarsely phonetic, it is visually crass, its aural range is limited to a concept of peasant or artisan...