This article interrogates the South-South internationalism of two renowned US Latinx poets: Miguel Algarín’s abjection in Morocco in his poem “Tangiers” and Sandra María Esteves’s anti-apartheid poetry for the French Art contre/against apartheid project, which included the controversial participation of Jacques Derrida. Although these poems focus on different contexts of African liberation, both react to French coloniality. For Algarín, his Orientalist evocations of underage child prostitution operate under a French hegemony, coming into crisis when a third world alliance fails. In Esteves’s work, her poetic solidarity draws on Frantz Fanon’s experience of French colonization in Algeria but also comes into crisis when Derrida’s foreword for Art contre/against apartheid is challenged as Eurocentric. Although both engagements with African self-determination exhibit residues of a French hegemony undergirding and undercutting what I term is a poetic Latin-African solidarity, their South-South approach enriches postcolonial studies, in which Latin American, and by extension, Latinx identities have been sidelined.

中文翻译：

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拉丁裔国际主义和法国大西洋：桑德拉·玛丽亚·埃斯特维斯在艺术反对/反对种族隔离和“丹吉尔”中的米格尔·阿尔加林

本文质疑美国两位著名拉丁裔诗人的南南国际主义：米格尔·阿尔加林 (Miguel Algarín) 在他的诗歌《丹吉尔》(Tangiers) 中表现出在摩洛哥的落魄和桑德拉·玛丽亚·埃斯特维斯 (Sandra María Esteves) 为法国人创作的反种族隔离诗歌艺术反/反对种族隔离项目，其中包括有争议的雅克·德里达的参与。尽管这些诗歌侧重于非洲解放的不同背景，但都对法国的殖民主义做出了反应。对阿尔加林来说，他对未成年儿童卖淫的东方主义唤起在法国霸权下运作，当第三世界联盟失败时陷入危机。在 Esteves 的作品中，她诗意的团结借鉴了 Frantz Fanon 在阿尔及利亚的法国殖民经历，但也因德里达的前言而陷入危机艺术反/反对种族隔离以欧洲为中心受到挑战。尽管与非洲自决的两次接触都显示了法国霸权的残余，巩固和削弱了我所说的诗意的拉丁-非洲团结，但他们的南南方法丰富了后殖民研究，其中拉丁美洲，并推而广之，拉丁人的身份一直是靠边站。