MODERNITY
(AND THE
LA.N.O.
SC
A.P
ES OF
ALTERWlODtRNSTO
himself
understood. What else can Cahban do but use
that
same
language—today he has no other—to curse him, to
wish
that
the
'red
plague'
would
fall
on him. I know no other metaphor more
expressive of our cultural situation, of our reality. . . . [W]hat is our
history,
what is our culture, if not the history and culture of
Cali-
ban?"
56
The culture of
Caliban
is the culture of resistance
that
turns
the weapons of
colonial
domination back against it. The victory of
the Cuban Revolution, then, for Retamar, is the victory of
Caliban
over Prospero.
Aime
Cesaire
similarly
rewrites Shakespeare's play so
that
now
Caliban,
who has for so long been lorded over by Prospero,
finally
wins his freedom, not only breaking the chains of his physical
imprisonment but also freeing himself
ideologically
from the mon-
strous image—underdeveloped, incompetent, and inferior—that he
had internalized from the colonizers. "Caliban's reason"
thus
be-
comes a figure for Afro-Caribbean thought in its distinct and au-
tonomous development from the European canon.
57
This
anticolonial
Caliban
offers a way out of the dialectic in
which
Horkheimer and
Adorno
leave us trapped.
From
the perspec-
tive
of the European colonizers the monster is contained in the
dia-
lectical
struggle between reason and madness, progress and barba-
rism,
modernity and antimodernity.
From
the perspective of the
colonized,
though, in their struggle for liberation,
Caliban,
who is
endowed
with
as much or more reason and
civilization
than the
colonizers,
is monstrous only to the extent
that
his desire for free-
dom
exceeds the bounds of the
colonial
relationship of biopower,
blowing
apart
the chains of the dialectic.
To
recognize this savage power of monsters, let us go back to
another moment in European philosophy
that,
in addition to ex-
pressing the
typical
racism and fear
of
otherness, highlights the mon-
ster's
power of transformation. Spinoza receives a letter from his
friend
Pieter
Balling
which
relates
that
after the recent death of his
son
he continues disturbingly at times to
hear
his son's voice.
Spi-
noza
responds
with
a
puzzling
example of his own hallucinations:
"One morning as the sky was already growing light, I woke from a
very
deep
dream to
find
that
the images
which
had come to me in
AMBIVALENCES
OF
MODERNITY
my
dream remained before my eyes as
vividly
as if the things had
been true—especially [the image] of a certain black, scabby
Brazil-
ian
whom I had never seen before."
58
The first thing to remark about
this letter is its racist construction of the black, scabby
Brazilian
as a
sort of
Caliban,
which
most
likely
derives from Spinoza's second-
hand knowledge of the experiences of Dutch merchants and
entre-
preneurs, especially Dutch Jews, who established businesses in
Brazil
in
the seventeenth century. Spinoza, of course, is by no
means
alone
among European philosophers in employing such racist images.
Many
of the most prominent
authors
in the canon—Hegel and
Kant
first among them—not only invoke non-Europeans in general
and the darker
races
specifically
as figures of unreason but also
mount arguments to
substantiate
their lower mental capacities.
59
If
we stop our reading of the letter at
that
point, however, we miss
what is most interesting in Spinoza's monster,
because
he
goes
on to
explain
how it configures for him the power of the imagination.
The imagination for Spinoza
does
not
create
illusion
but is a real
material
force. It is an open
field
of
possibility
on
which
we recog-
nize
what is common between one body and another, one idea and
another, and the resulting common notions are the
building
blocks
of
reason and tools for the constant project
of
increasing
our powers
to think and to act. But the imagination for Spinoza is always exces-
sive,
going beyond the bounds of existing knowledge and thought,
presenting the possibility for transformation and liberation. His
Bra-
zilian
monster, then, in addition to being a sign of his
colonial
men-
tality,
is a figure
that
expresses the excessive, savage powers of the
imagination.
When
we reduce all figures
of
antimodernity to a
tame
dialectical
play of opposite identities, we miss the liberatory possi-
bilities
of their monstrous imaginings.
60
It is true, of course,
that
there
have long existed and continue
to exist today forces of antimodernity
that
are not liberatory at all.
Horkheimer
and Adorno are right to see a reactionary antimoder-
nity
in the
Nazi
project, and we can recognize it too in the various
modern projects of ethnic cleansing, the white supremacist fantasies
of
the Ku
Klux
Klan,
and the deliriums
of
world
domination
of
U.S.