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Haiti was a remarkably constant presence in Carpentier’s life and its imprint on his narrative fiction and essays has been profound, far-reaching, and indelible. Carpentier’s fascination with Haiti begins with his first novel, ¡Écue-Yamba-Ó! (1933), culminates in The Kingdom of This World (1949) and resurfaces within the transatlantic context of the French Revolution in yet another major work, Explosion in the Cathedral (1962). While traces of Haiti appear in myriad formal and conceptual manifestations throughout Carpentier’s oeuvre, in this essay I suggest that the notion of the Plantationocene, forged by Donna Haraway and Donna Tsing, carries significant critical potential for refocusing Carpentier’s links with Haiti in a manner that is both transdisciplinary and cross-historical.
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