Abstract
Abstract With the recent heightened interest in Frantz Fanon’s relation to psychopathology, his relation to phenomenology is in danger of being overlooked in spite of the fact that he seems to have focused a great deal of his attention on how they work in combination in a number of authors he cited, none more so than Karl Jaspers. The importance of existential phenomenology for Fanon in Black Skin, White Masks is especially profound in the enigmatic conclusion with its references to Maurice Merleau-Ponty, Günther Anders, and, of course, Jean-Paul Sartre. Using the conclusion as a decisive clue, one can return to Fanon’s initial account of the relation of regressive analysis to what he called the book’s progressive infrastructure and unlock a reading in which the central aim of the book is an account of temporality that allows for an open future.
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