Let no one be fooled by the fact that we may write in English, for we intend to do unheard of things with it. (Chinua Achebe)
…
From an interview of Aime Cesaire by Rene Depestres at the Cultural Congress of Havana, 1967
A.C.: I don’t deny French influences myself. Whether I want to or not, as a poet I express myself in French, and clearly French literature has influenced me. But I want to emphasize very strongly that—while using as a point of departure the elements that French literature gave me—at the same time I have always strived to create a new language, one capable of communicating the African heritage. In other words, for me French was a tool that I wanted to use in developing a new means of expression. I wanted to create an Antillean French, a black French that, while still being French, had a black character.
R.D.: Has surrealism been instrumental in your effort to discover this new French language?
A.C.: I was ready to accept surrealism because I already had advanced on my own, using as my starting points the same authors that had influenced the surrealist poets. Their thinking and mine had common reference points. Surrealism provided me with what I had been confusedly searching for. I have accepted it joyfully because in it I have found more of a confirmation than a revelation. It was a weapon that exploded the French language. It shook up absolutely everything. This was very important because the traditional forms—burdensome, overused forms—were crushing me.
R.D.: This was what interested you in the surrealist movement…
A.C.: Surrealism interested me to the extent that it was a liberating factor.
R.D.: So you were very sensitive to the concept of liberation that surrealism contained. Surrealism called forth deep and unconscious forces.
A.C.: Exactly. And my thinking followed these lines: Well then, if I apply the surrealist approach to my particular situation, I can summon up these unconscious forces. This, for me, was a call to Africa. I said to myself: it’s true that superficially we are French, we bear the marks of French customs; we have been branded by Cartesian philosophy, by French rhetoric; but if we break with all that, if we plumb the depths, then what we will find is fundamentally black.
R.D.: In other words, it was a process of disalienation.
A.C.: Yes, a process of disalienation; that’s how I interpreted surrealism.
R.D.: That’s how surrealism has manifested itself in your work: as an effort to reclaim your authentic character, and in a way as an effort to reclaim the African heritage.
A.C.: Absolutely.
R.D.: And as a process of detoxification.
A.C.: A plunge into the depths. It was a plunge into Africa for me.
R.D.: It was a way of emancipating your consciousness.
A.C.: Yes, I felt that beneath the social being would be found a profound being, over whom all sorts of ancestral layers and alluviums had been deposited.