This article examines the aesthetics of representing female sexuality within colonial narratives of the West–East encounter. I consider two literary works whose female characters challenge the gendered metaphors of empire that predominated in a tradition of colonial literature and its postcolonial rewriting: the short story “La femme adultère” by the French-Algerian writer Albert Camus, and the novel Wāḥat al-ghurūb by Egyptian writer Bahāʾ Ṭāhir. In each text, the standard heterosexual troping of imperial conquest as a male activity directed at or against a feminized other is inverted to place a European woman’s sexually aroused body at the center of the drama of colonial contact. Reading these two texts against the grain of the aesthetic formulas that they employ to contemplate the political stakes of cross-cultural intimacies in a colonial setting, I argue that the phenomenological immediacy of how the female protagonist in each is shown to experience the eroticism of colonial space introduces a break in these formulas. The loss of narrative plausibility in each text that follows from these erotic interludes, I propose, ultimately testifies to the irreducibility of the body to either enforcing or disputing the epistemologies of the colonial project.

Winfried Siemerling’s The Black Atlantic Reconsidered: Black Canadian Writing, Cultural History, and the Presence of the Historical Past, to put it mildly, is an impressive piece of scholarship that will stand as one of the definitive works on the histories of Black writing in Canada for the foreseeable future. In his preface, Siemerling states that he embarked upon this undertaking when he learned, to his surprise (one is reminded here, incidentally, of Katherine McKittrick’s injunction that Black Canadian Studies is always constituted as a “surprise”), that there had been little written about Black contemporary writing aside from a few of the comprehensive and encyclopedic works that George Elliot Clarke published in the early to mid-1990s. It is this pioneering work upon which Siemerling builds. He starts with a discussion of “Modernity and Canadian Time-Spaces of the Black Atlantic” in his first chapter and introduction, where he lays out the analytical and conceptual approach of the work. Part 1, “Early Testimony and the Black Canadian Nineteenth Century,” includes chapters titled “Slavery and Early Black Canadian Writing” and “The Black Canadian Nineteenth Century.” Part 2, “The Presence of the Past,” highlights chapters that expand on the themes of “Slavery, the Black Canadian Nineteenth Century, and Caribbean Contexts in Contemporary Black Canadian Writing” and move into a discussion of what he calls “Other Black Canadas” and “Coda: Other Canadas, Other Americas, the Black Atlantic Reconsidered.”

This response takes as its starting point the twofold agenda Winfried Siemerling pursues in The Black Atlantic Reconsidered: his systematic outline of a history of Black writing in Canada from the eighteenth century to the present and his goal to fill a geographical gap in Paul Gilroy’s influential concept of the Black Atlantic, thereby also offering a reconsideration of this concept. I suggest that, although Siemerling is clearly successful with regard to the first aspect, he is only partially so with regard to the second, with the logic of a nation-based literary history to some extent countering the agenda of the constitutive transnationality of the Black Atlantic. This tension between the two agendas, I suggest, results in crucial questions concerning the complex relationship among the national, the transnational, and the diasporic in the specific logic of literary histories.

In this response to the incisive and stimulating discussions by Karina Vernon, Robert S. Levine, Barrington Walker, and Katja Sarkowsky of The Black Atlantic Reconsidered, I focus on the dynamic dimensions of Black Canadian and Black Atlantic time-spaces and temporalities, as well as issues of public, institutional, and pedagogical inclusion, incorporation, recognition, and transformation. In addition, questions of history and its uses, social aesthetics, and contrapuntal national/transnational frameworks are brought to the fore, often with reference to specific texts, to reflect on Black Canadian cultural achievement and its transnational and diasporic contexts both past and present.