Abstract

AbstractThrough a literary-theatrical reading of international legality, this Article challenges the “settled script” produced by international legal scholars to frame and assess the legality of two historical events—the Grenada Revolution (1979–1983) and the U.S. Invasion of Grenada (1983). It does so by reading the Cold War as a sensibility performed by these scholars, one that recognized the operation of rival international legal orders and one that crafted a different script—Cold War Customary Law (“CWCL”)—to decide questions of international legality in a Cold War context. In addition to offering a new way to read the Cold War and international legality, this Article argues first that it is important to uncover this parallel and competing script of international legality operating at the time, and not dismiss it as unrelated political or ideological discourse, as it clearly influenced the interpretive logic and reasoning practices international lawyers deployed to frame what constituted legality in international law. Second, it argues that this Cold War sensibility in international legal scholarship on intervention and revolution predated the events in Grenada, and that if a different theatrical mise en scène is adopted—one which eschews “the short durée” or “evental history” of the settled script—this sensibility can be understood as being both continuous and discontinuous with rival imperial forms of international law operating in the Caribbean across time and place, where its discontinuities open up space to recover revolutionary Caribbean subjects of international law and a sensibility of shame in the present.

Highlights

  • Through a literary-theatrical reading of international legality, this Article challenges the “settled script” produced by international legal scholars to frame and assess the legality of two historical events—the Grenada Revolution (1979–1983) and the U.S Invasion of Grenada (1983)

  • It argues that this Cold War sensibility in international legal scholarship on intervention and revolution predated the events in Grenada, and that if a different theatrical mise en scène is adopted—one which eschews “the short durée” or “evental history” of the settled script —this sensibility can be understood as being both continuous and discontinuous with rival imperial forms of international law operating in the Caribbean across time and place, where its discontinuities open up space to recover revolutionary Caribbean subjects of international law and a sensibility of shame in the present

  • This Article exposes those formally unacknowledged scripts and sensibilities configuring cold war legality. It argues that this Cold War sensibility in international legal scholarship on intervention and revolution predated the events in Grenada, and if a different theatrical mise en scène is adopted—one which eschews “the short durée” or “evental history” of the settled script—this sensibility can be understood as being both continuous and discontinuous with rival imperial forms of international law operating in the Caribbean across time and place

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Summary

Introduction

What is the difference between a play and a historical event involving international legal practices during the Cold War? Both have authors. This Article explores the productive value some discontinuities may offer for hitherto illegible Caribbean subjects of international law and queries the value of a sensibility of shame in the present To flesh out these arguments, this Article will unfold in three parts: Section B outlines the literary-theatrical method deployed to revisit how questions of international legality were decided during the Cold War; Section C outlines and disrupts the orthodox or “settled” script of international legality applied to both the Grenada Revolution of 1979–1983 and the U.S Invasion of Grenada in 1983, to uncover a rival shadow script of legality at play, that is Cold War Customary Law; Section D explores the continuities and discontinuities of this Cold War Customary Law script across time and place, across imperial, literary, Black Atlantic, and oceanic histories so as to recover revolutionary Caribbean subjects as actors, authors, and performers of international legality. Plural, transcultural, shifting, tidalectic, interconnected, creolized, revolutionary Caribbean subject to disrupt existing Cold War scripts of international legality framing stories of self-determination, sovereignty, and freedom in international law

Literary and Theatrical Readings of International Law
On Sensibility and Scripts in International Law
Unsettling the Script of International Legality
Sensibility and Alternative International Legalities: “Cold War Customary Law”
Cold War Customary Law: A Parallel Script of International Legality
Mise en Scène
Continuities
Conclusion
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