In a critical domain that privileges and promotes hybridity, metissage, and creolization favored models of contemporary identity, the Caribbean subject finds itself thrown center stage, paraded before the world the ideal postmodern being. A brutal, hellish history of deracination, slavery, colonialism, and (for some) independence has apparently been recuperated and reinterpreted the ideal context for the Caribbean subject's movement into fluid, non-originary, and relational identity. Indeed, without this violent history, such a movement would have been impossible, the latter has been interpreted the unintended yet endlessly auspicious product of the former (Bongie, Islands and Exiles 15). Much of this critical work has drawn on and been driven by edouard Glissant's theories; his highly persuasive, brilliantly-argued vision of the Caribbean an open-ended, outward-looking, inherently relational time-space has chimed with the concerns and theoretical perspectives of critics on the outside, tired of the perceived essentialisms and reductivism of humanist thought, and its related concept of the subject unitary, autonomous, and full. recuperation and reinterpretation of one particular prevalent trope of Caribbean culture exemplifies this critical shift from humanist modernism to anti-humanist postmodernism. trope of the fragment, the splintered, disconnected cultural and existential remnant has recurred throughout the relatively short history of Caribbean literature. For example, this sense of fragmentation, of the loss of a previous plenitude, structures and drives Aime Cesaire's poetry. From the opening lines of Cahier d'un retour au pays natal images of a negatively--experienced rupturing and fragmentation are used to characterize the Caribbean situation: At the end of the daybreak, the extreme, deceptive desolate eschar on the wound of the waters ... the flowers of blood that fade and scatter in the empty wind ... an aged silence bursting with tepid pustules ... this squalling throng so astonishingly detoured from its cry this town has been from its movement, from its meaning (1-2). Cesaire moreover draws a parallel between these cultural and existential ruptures and the physical fragmentation of Caribbean space in his view of the islands scars of the water ... evidence of wounds ... crumbs ... unformed (42). Such a deeply-felt sense of fragmentation has now been widely reinterpreted the raw material of hybrid identities, the divergent threads of culture and subjectivity that can be braided together by (or for) the Caribbean subject in a new dynamic of identity creation. Francoise Lionnet, for example, recuperates Caribbean fragmentation, and sees it the source of a new energy for positive change, saying that: The postcolonial subject ... becomes quite adept at ... using the fragments that constitute it in order to participate fully in a dynamic process of transformation (5). This recuperation of cultural and identitary fragmentation fits neatly into the dominant contemporary model of postcolonial, postmodern Caribbean identity a free floating, carnivalesque version of plurality, which ... constitutes a kind of abundance (Britton, The (De)Construction of Subjectivity 45). Such celebratory reinterpretations of Caribbean fragmentation may sit well with prevailing global theories of culture, and indeed promote the Caribbean to the very forefront of the world stage as a metaphor for the human condition, characterized by unceasing change and creative discontinuity (Dash, Other America 6). (1) Not for nothing did James Clifford famously state that in the postmodern world We are all Caribbeans now in our urban archipelagos (6). These celebratory readings fall apart, however, when applied to the context of Haiti, the Caribbean's troubling, troubled, and often forgotten forefather. Contemporary Haitian narratives stand apart from those of the other islands, and indeed challenge much current Caribbeanist criticism, in that they often express more nuanced, less celebratory interpretations of Caribbean existence. …