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• W2911005308 abstract "The Contemporary Hero in Sylvie Kandé’s Epic of Futurity, La Quête infinie de l’autre rive Alexander Dickow (bio) While scholars like Lynn Keller and Evie Shockley have devoted significant work to women’s epics in English, no similar scholarship exists on Francophone women writers, for lack of a comparable corpus. Elizabeth Barrett Browning and H.D. provide the beginnings of an Anglophone lineage that culminates in contemporary works such as Alice Notley’s Descent of Alette. By contrast, Sylvie Kandé’s Neverending Quest for the Other Shore: Epic in Three Cantos (La Quête infinie de l’autre rive: épopée en trois chants), published by Gallimard in 2011, is practically alone as an epic in contemporary French and Francophone literature by both women and men. Kandé is a Franco-Senegalese scholar and poet who has lived in New York for more than twenty years. In the Neverending Quest, she recounts at least two stories: that of the early 14th-century Emperor of Mali, Bata Manden Bori, known as Abubakar II or Abu Bekri II, and that of the thousands of African migrants who attempt to reach Europe. According to Kandé’s foreword, Abubakar II launches a massive expedition to explore the ocean to the West of Africa, never to return (13–14).1 The first two cantos recount the misadventures of Abubakar’s expedition, which include an attempted mutiny. Kandé imagines several versions of their final fate, including arrival in the Americas. The migrants’ expedition to European shores occupies the third and final canto. The migrants travel on a dangerous boat referred to as a patera. Originally a kind of shallow, flat-bottomed [End Page 399] vessel, the term has come to designate any boat carrying clandestine immigrants. The fate of these migrants, after the many travails of the passage to Europe, remains uncertain at the end of the epic, when a coast-guard vessel overtakes the patera and leads away the migrants, perhaps to a detention camp to await deportation. What kind of epic is Kandé’s Neverending Quest? In his well-known discussion of the genre, David Quint proposes a model of two competing epic traditions, the epics of the winners and those of the losers. But Quint’s victor or vanquished, winner or loser dichotomy tends to suggest a too-rigid conceptual dualism. I propose instead that epics vary widely (and not dualistically), particularly with regard to their temporalities. In other words, epics display representations of present, past, and future specific to each epic (but partially determined by their larger traditions, whether Greek, French, African, etc.). Sylvie Kandé offers the example of an epic of futurity. Rather than dealing in foundations and commemoration as epics often do, Kandé’s deals in becomings and unfoldings, potentialities and possibilities. Kandé participates in what Rachel Blau DuPlessis has called, with reference to many long poems by women, revisionary mythopoiesis (105–122). Yet in the act of rewriting the histories of Mali and clandestine migrants, Kandé suggests that history in general is always in process, always being renegotiated, that history is itself part of the future as much as the past. Futurity is also evidenced in her heroes, who are always still in the making, a promise rather than a gift. Kandé orients her epic toward the future in order to launch a communal ethical project: she ultimately demands that her reader carry on the task of reimagining an authentic contemporary hero. The Neverending Quest in context: an epic among epics As a matter of course, theoretical treatments of epics and the epic tradition turn on issues of temporality, historical consciousness, and their relation to narrative or lyric form. More than any other genre, the epic’s literary form manifests as an allegorical projection of a conception of history. In this view, a cyclical narrative (for instance, Saint-Amant’s unusual Moïse sauvé [Moses Saved]2) reflects a cyclical vision of history as eternal return. A radically digressive shape (like Byron’s Don Juan) contests historical teleology to suggest that history leads nowhere in particular. Finally, [End Page 400] an empire-building, end-oriented tale of relative ideological coherence (the Aeneid) implies a similarly end-oriented..." @default.
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• W2911005308 title "The Contemporary Hero in Sylvie Kandé’s Epic of Futurity, La Quête infinie de l’autre rive" @default.
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