The dictionary of Caribbean English Usage, 1996. ,
, Search of a Third Space: Fabienne Kanor's Humus», vol.15, pp.80-88, 2011.
The Location of Culture, 1994. ,
Le degré zéro de l'écriture, 1953. ,
Brooks de Vita, Alexis. Mythatypes: Signatures and Signs of African/Diaspora and Black Goddesses, 1967. ,
Symbiose d'une mémoire : Manifestations religieuses et littératures de la Caraïbe, L'Harmattan, 2006. ,
The African American concept of the fantastic as Middle Passage, Black Imagination and the Middle Passage, 1999. ,
, Eyes, Memory. New York: Vintage, 1994.
, , 1996.
The Farming of Bones, 1998. ,
The Dew Breaker, 2004. ,
Create Dangerously: The Immigrant Artist at Work, 2010. ,
Claire of the Sea Light, 2013. ,
, Les éditions de Minuit, 1972.
, Translation of: L'anti-OEdipe, 1977.
, Of Other Spaces, Heterotopias, 1984.
The Book of Negro Folklore, Fabienne. D'eaux douces. Paris : Gallimard, 2004. ,
, , 2006.
Le jour où la mer a disparu, 2007. ,
Les chiens ne font pas des chats, Gallimard, 2008. ,
, , 2010.
Faire l'aventure, 2014. ,
Je ne suis pas un homme qui pleure, 2016. ,
, Vodou in Haitian Memory. The idea and representation of Vodou in Haitian imagination, 2016.
The Language must not sweat. A conversation with Toni Morrison, New Republic Magazine, 1981. ,
, , 1987.
, The Ancestor as Foundation » in Black Women Writers 19501980, 1984.
Les lieux de mémoire, Gallimard, 1984. ,
Citizenship from Below: Erotic Agency and Caribbean Freedom, 2012. ,
Can the Subaltern Speak?, Colonial Discourse and Post-Colonial Theory, 1994. ,
Mapping of Black Atlantic Performance Geographies: From Slave Ship to Ghetto, Black Geographies and the Politics of Place, 2007. ,
Flash of the Spirit. African and Afro-American Art and Philosophy, 1984. ,
Downtown Ladies: Informal Commercial Importers, a Haitian Anthropologist, and Self Making in Jamaica, The Star-Apple Kingdom. London: Cape, 1979. ,
, Thus silence and self-censuring shone through his text because he addressed a white public that had to be placated if his (the fugitive) voice was to be heard. The process of rewriting and reappropriating the true voice of the slave narrator is at the core of the neoslave narratives trend which was initiated and enhanced by women writers, the nineteenth-century slave narratives, the narrator was dispossessed of his story/history as his text was determined and governed by other voices (the ghost writer, the constraints of the ght for the abolition of slavery
The Ancestor as Foundation » in Black Women Writers, pp.339-345, 1984. ,
, The subaltern as female cannot be heard or read' (Spivak, 1994, 104). Spivak, Gayatri, Colonial Discourse and Post-Colonial Theory, 1994.
Downtown Ladies: Informal Commercial Importers, a Haitian Anthropologist, and Self-Making in Jamaica, 2008. ,
Oshun is a Yoruba deity who "unies the world by holding a length of chain about her head, an action called I-tie-all-my-people-together. Fish as motifs, in which her spirit moves within the river, appears left and lower right», vol.83, 1984. ,
, Anne Bruske & Wiebke Beushausen consider her as follows: «She stands in for the struggle of African Haitian women and their dignied existence. As a symbol of female subjectivity and corporeality, she represents womanhood within a postcolonial culture of resistance. She is represented as the "Black Venus, her study about Edwidge Danticat's poetics of Vodou, 2016.
, Search of a Third Space: Fabienne Kanor's Humus, vol.15, pp.80-88, 2011.