The present chapter studies two contemporary Algerian narratives retelling the medieval rebellion of the Zendj, Black Africans brought as slaves to the marshes of Lower Iraq, who revolted against the power of the Abbasid Caliphate. Considered as the greatest servile insurrection of the medieval Arab-Muslim world, Jamel Eddine Benchecikh’s novel Rose noire sans parfum (1998) and Tareq Teguia’s film Révolution Zenj (2013) revisit this evocative episode in the global history of slavery, merging racial and economic exploitation with religious conflict and the struggle for liberation in an age of empire. The chapter focuses on Benchecikh and Teguia’s creative responses to the silence to which the Zendj have been condemned by the Arabic sources of the time, pointing out the different stylistic paths they take to trace analogies between the Zendj Rebellion and the contemporary forms of oppression, racism, and sectarian strife they witness across Algeria, Iraq, Palestine, and Europe. Expressing the rage of the oppressed, their narratives denounce the inequalities and injustices of the postcolonial and globalized world, investigating their causes while inviting audiences within and outside the Arab World to join in the Zendj’s unconcluded struggle for liberation across the centuries.

This chapter reconsiders chattel slavery’s legacy in contemporary stories of migration, highlighting the inadequacies of reading these works through memories of the Middle passage alone, while analyzing the insidious new forms of enslavement that African boat narratives expose. When read through the prescient work of Frantz Fanon, these stories present us with nothing less than revolutionaries of the crossing; those whose resounding “yes to life,” in the words of Frantz Fanon, is a deafening rejection of European anti-blackness, challenging border logic and the political machinations of inhospitality for a world in crisis. Migration, especially in today’s climate crisis, is above all else a human impulse that challenges the logic of inequality that slavery and colonialism have cast upon black lives, offering up movement as the dynamic imperative of life today.

New Orleans provides the context for this chapter’s reading of Les Cenelles in relation to the concerns of the city’s community of francophone free people of color. As this chapter shows, the 1845 collection of poetry not only emerged from discussions over how to provide an education to the city’s Black francophone children, but also articulated a specific theory of education that would later find an institutional home in the city’s first school for free children of color.