Abstract:

This essay argues for an ecofeminist rendering of Fabienne Kanor's neo-slave narrative Humus (2006). My contention is that Kanor's text supports a sustainable initiative concerned with the preservation of minor histories of enslavement. I show how, operating like a fertilizer, so to speak, Humus supplies nutrients in the form of twelve individual narratives that the author has imagined from an apparently trivial anecdote recuperated from the on-board journal of a French ship captain written in 1774. Dissatisfied with Captain Louis Mosnier's dry depiction of fourteen enslaved Black women who chose to jump off his ship in a desperate attempt to escape enslavement, Kanor reshuffles his narrative by filling in the gaps left in his dehumanizing account of the women's discontinued non-history with Humus. To this end, she stresses the elusive presence of these women in the hold and the subversive role they played in the resistance to bondage, thereby refashioning knowledge of the slave trade and slavery with a gendered perspective. In her quest to revitalize and protect the women's "Arbre d'essence sacrée [Tree of sacred essence]" (68) made vulnerable by the ongoing colonizing actions of humans, Kanor, like Edouard Glissant in Le Discours antillais, "quarrel[s] with History" (222) to re-create beauty and being from the scraps of the captives' existences that l'Histoire had automatically relegated to the periphery of humanity.

摘要：

本文主张以生态女性主义的方式来呈现法比安·卡诺尔（Fabienne Kanor）的新奴隶式叙事叙事（Humus）（2006）。我的主张是，卡诺尔的案文支持一项关于维护次要奴役历史的可持续倡议。我展示了腐殖质的运作方式，可以这么说以十二种单独的叙述形式提供营养，这是作者从一位似乎琐碎的轶事中想象出来的，该轶事从一位1774年写的法国船长的船上日记中恢复下来。在绝望的企图逃脱奴役跳下他的船，Kanor在留在他的无人性的帐户女子停产非历史与填补空白改组他的叙述腐殖质。为此，她强调了这些妇女在地盘中难以捉摸的存在以及她们在抵抗束缚中所起的颠覆性作用，从而以性别观点重塑了对奴隶贸易和奴隶制的认识。为了振兴和保护妇女的“神圣本质之树”（68），Kanor不断受到人类殖民行为的影响，就像Le Discours antillais中的Edouard Glissant一样，“争吵”与历史”（222），从l'Histoire自动降级到人类边缘的俘虏的生活残骸中重现美感和存在。