C. L. R. James's The Black Jacobins remains one of the great works of the twentieth century and the cornerstone of Haitian revolutionary studies. In Making The Black Jacobins, Rachel Douglas traces the genesis, transformation, and afterlives of James's landmark work across the decades from the 1930s on. Examining the 1938 and 1963 editions of The Black Jacobins, the 1967 play of the same name, and James's 1936 play, Toussaint Louverture—as well as manuscripts, notes, interviews, and other texts—Douglas shows how James continuously rewrote and revised his history of the Haitian Revolution as his politics and engagement with Marxism evolved. She also points to the vital significance theater played in James's work and how it influenced his views of history. Douglas shows The Black Jacobins to be a palimpsest, its successive layers of rewriting renewing its call to new generations.
- Contents
- Acknowledgments
- Map of Venezuela
- Introduction. What People? Whose History?
- One. A Guerrilla History
- Two. Reconnecting with the Masses
- Three. Birth of the ‘‘Tupamaros’’
- First Interlude. The Caracazo: History Splits in Two
- Four. Sergio’s Blood: Student Struggles from the University to the Streets
- Five. Manuelita’s Boots: Women between Two Movements
- Six. José Leonardo’s Body and the Collapse of Mestizaje
- Second Interlude. Every Eleventh Has Its Thirteenth
- Seven. Venezuelan Workers: Aristocracy or Revolutionary Class?
- Eight. Oligarchs Tremble! Peasant Struggles at the Margins of the State
- Nine. A New Proletariat? Informal Labor and the Revolutionary Streets
- Conclusion. Dual Power against the Magical State
- Notes
- Index
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