Abstract

This article examines motifs of falling, recoiling, and turning across Chester Himes’ oeuvre as figurations of Black susceptibility to racial violence. These images reference and reconstruct an event from Himes’ early adulthood: his catastrophic fall down an elevator shaft. Taking a psychoanalytically oriented approach, I analyze the metonymic connections between these motifs, rather than reading them in their chronological order, using Jean Laplanche’s theory of après-coup. I argue that the recursive quality of these images in Himes’ work is not merely an unconscious repetition or conscious working through of a traumatic biographical event but part of an endeavor to imagine different ways to inhabit and survive the structural trauma of Jim Crow America.