The middle passages of black migration

Abstract

In characterizing the desperate journeys undertaken by African and Haitian refugees as today's “middle passages,” Caryl Phillips's A Distant Shore and Edwidge Danticat's “Children of the Sea” complicate the idea of a single origin to a transatlantic black Diaspora. If, during an era of black power and nation building, the middle passage signified a fundamental connection with Africa, the term is more recently used to describe multiple crossings that transform the meaning of Diaspora into a vital and ongoing process. These crossings do not coalesce into a single narrative of black migration in which the trauma of slavery has been overcome. Rather, the temporal simultaneity of past and present suggests a narrative of history as repetition. Both works of fiction transform received images from a slave past in order to critique the present treatment of black asylum seekers. A Distant Shore deploys the stalled temporality of the middle passage for staging the impossibility of diasporic community in post 9/11 Britain. However, even as this novel redraws the oceanic map of the transatlantic slave trade to include continental Europe and Great Britain, Africa exists outside of that imperial history and geography. “Children of the Sea” uses the simultaneity of past and present and the symbolic value of the middle passage as a space of death to critique an oppressive Haitian regime and the treatment of Haitian boat people by their Caribbean and American neighbors. It also interrupts a stalled temporality with the prophetic time of vodou beliefs for shifting the meaning of the middle passage from death to life in a Haitian Diaspora that stretches across the Caribbean Sea.