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brutality of the moment when the term “nigger” is uttered chases away ambiguity and crashes backward into history to reinstate the concept as the product of colonial domination. This is a reminder that it is not possible to quickly transpose hybridity (or any concept) as it was born as a concept of coloniality into a liberated, utopian hybridity “after” colonialism. While of course the term is not magical and will not recreate the circumstances of colonialism by its simple pronouncement, its coherence, indeed its intelligibility, assures that the discursive structure in which Lucien can be a nègre envelops the speakers through their common understanding of it. Experiencing the effects of the same colonial ordering in the Caribbean, Edouard Glissant refused to name the terms between which “Relation” is forged for precisely these reasons as he sought transformation of the mentality of colonialism that Martinique urgently needed through an engagement with infinite difference as the space for transformations that can lead to true newness.

      Edouard Glissant’s refusal to allow his version of hybridity to lapse into an idea of a utopian mixture where all kinds of different cultures mingle and create a melting pot is discussed in detail elsewhere (Prabhu and Quayson 2004, 226–228). For Glissant, the violence between the self and the other and the persistence of difference beyond the initial encounter ensure that a level of tension continues through the evolution of hybrid locations. This is done theoretically by refusing to focus on the “two” entities in a relationship that causes hybridity (such as black and white, colonizer and colonized) and, rather, to insist on the absoluteness of “Relation.” The tension is not suggestive of violence, but rather of a productive uneasiness that constantly generates movement in thought and in action.

      Indian coolie labor is well documented by the author Marcel Cabon in his Namasté (1965), an early thorough engagement with Indians in Mauritius. Cabon’s inheritor, Deepchand Beeharry, one of the few Mauritians to write in English, probes this Indian history with That Others Might Live (1976) which is set in Mauritius but begins in India and covers the capture and journey to Mauritius of three Indians, Manish, Thomas, and Dhiren, who come from different parts of India. Beeharry carefully represents different religious and ethnic Indian groups in Mauritius while the late Abhimanyu Unnuth, who was once a lone writer in Hindi, left behind a vibrant literary culture in Hindi with writers such as Mohanlall Brijmohun and Soomatee Boodhun contributing to it.

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