Abstract

Frantz Fanon’s Black Skin, White Masks opens with a discussion of language in the colonial setting. I argue that this is at least in part due to Fanon’s background in phenomenology, and the crucial role that intersubjectivity plays in the phenomenological account of the subject. I begin by demonstrating the phenomenological underpinnings of Fanon’s chapter on language. I then further develop the background phenomenological account of the subject, showing how this informs Fanon’s project. I then develop a sonic account of the subject, arguing that metaphors of sound best represent the phenomenological account of the subject. Finally, I build on this sonic account to draw out the implications for our thinking about communication and liberation in Fanon’s work and beyond.