<abstract xmlns="http://www.w3.org/1999/xhtml">

<p>The publication of Esi Edugyan’s <italic>Washington Black</italic> has placed the novel among other works of history and art, which recall the material and epistemic violence of institutional racism and the lasting trauma of its legacy. Thus by interlacing, within the context of black critical theory, Yogita Goyal’s and Laura T. Murphy’s examining of the neo-slave narrative with Christina Sharpe’s conceptualization of the <italic>wake</italic> and Alexander G. Weheliye’s notion of <italic>habeas viscus</italic> as critical frames for the discussion of racialized subjectivity, I consider how Edugyan’s use of the conventions of Victorian adventure literature and the slave narrative rethinks the entanglements between the imperial commodification of life and the scientific agenda of natural history. Given how the narrative emphasizes the somatic register and its epidermal terms as a scene of meaning, I bring together Frantz Fanon’s idea of <italic>epidermalization</italic>, Steven Connor’s phenomenological reading of the skin, and Calvin L. Warren’s reasoning about blackness in an attempt to highlight the metalepsis resulting from the novel’s use of the hot air-balloon and the octopus as dermatropes that cast the empire as simultaneously a dysfunctional family and a scientific laboratory. Loaded into the skin as a master trope is the conceptual cross-over between consciousness and conscience, whose narrative performance in the novel nourishes the affective labour of its reader as an agent of memory.</p>
</abstract>

The publication of Esi Edugyan’s Washington Black has placed the novel among other works of history and art, which recall the material and epistemic violence of institutional racism and the lasting trauma of its legacy. Thus by interlacing, within the context of black critical theory, Yogita Goyal’s and Laura T. Murphy’s examining of the neo-slave narrative with Christina Sharpe’s conceptualization of the wake and Alexander G. Weheliye’s notion of habeas viscus as critical frames for the discussion of racialized subjectivity, I consider how Edugyan’s use of the conventions of Victorian adventure literature and the slave narrative rethinks the entanglements between the imperial commodification of life and the scientific agenda of natural history. Given how the narrative emphasizes the somatic register and its epidermal terms as a scene of meaning, I bring together Frantz Fanon’s idea of epidermalization, Steven Connor’s phenomenological reading of the skin, and Calvin L. Warren’s reasoning about blackness in an attempt to highlight the metalepsis resulting from the novel’s use of the hot air-balloon and the octopus as dermatropes that cast the empire as simultaneously a dysfunctional family and a scientific laboratory. Loaded into the skin as a master trope is the conceptual cross-over between consciousness and conscience, whose narrative performance in the novel nourishes the affective labour of its reader as an agent of memory.

Imperial (S)Kin: The Orthography of the Wake in Esi Edugyan’s <italic>Washington Black</italic>

Studia Anglica Posnaniensia

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Imperial (S)Kin: The Orthography of the Wake in Esi Edugyan’s 

The publication of Esi Edugyan’s Washington Black has placed the novel among other works of history and art, which recall the material and epistemic violence...

Imperial (S)Kin: The Orthography of the Wake in Esi Edugyan’s Washington Black

Publicado en línea: 13 mar 2021

Páginas: 465 - 494

DOI: https://doi.org/10.2478/stap-2020-0023

Palabras clave
Skin, racialized subject, wake, slave narrative, epidermalization, dermatrope,

© 2020 Rūta Šlapkauskaitė, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Imperial (S)Kin: The Orthography of the Wake in Esi Edugyan’s Washington Black

Publicado en línea: 13 mar 2021

Páginas: 465 - 494

DOI: https://doi.org/10.2478/stap-2020-0023

Palabras claveSkin, racialized subject, wake, slave narrative, epidermalization, dermatrope,

© 2020 Rūta Šlapkauskaitė, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Palabras clave
Skin, racialized subject, wake, slave narrative, epidermalization, dermatrope,