Literary Primitivism

This book comprehensively redefines literary primitivism, arguing that it was an aesthetic project formed in reaction to the high point of imperialist expansion at the start of the twentieth century. As those spaces in which “primitive” forms of existence were imagined to be possible were either directly colonized or otherwise forcibly integrated into a geographically totalized capitalist world-system, so dissenting writers responded by trying to reawaken primitive experience by means of literary practice. This thesis breaks with the orthodox understanding of primitivism as a transhistorical tendency according to which the “civilized” idealize the “primitive,” something that is usually thought to correspond to a binary of the “West” and its “Others.” Adopting the “point of view of totality,” Literary Primitivism argues that it was artists from peripheral societies who most energetically pursued primitivism’s project of immediacy as it was they who most keenly felt the loss of unalienated social worlds. The major debates are reviewed concerning primitivism and the thinkers, artists, and concept--including expressionism, modernism, surrealism, Rousseau, Darwin, Marx, Nietzsche, Luxemburg, the writers of négritude, Carl Einstein, the Frankfurt School, and Alain Locke. In close studies of the work of Aimé Césaire, Frantz Fanon, D. H. Lawrence, and Claude McKay the book identifies a morphology of literary primitivism that centers on the literary activation of the primitive remnant. Along the way, the book reassesses the politics of primitivism, especially with regard to its decolonial horizon, and the prospects for understanding literary primitivism as an event of world literature.