ABSTRACT
Fanon’s engagement with the dialectic comes with his challenge of an economy of corporeal
(im) potencies that sustain in place terror, working against the possibility of a revolution as a
creative leap (not an ‘existential’ residue)12 for a tabula rasa, what Marriott calls ‘a new inscrip-
tion that makes a new departure . . . a temporality diametrically opposed to that of narrative
(whether dramatic, dialectical, or existential)’ (Marriott, 2012, p. 57).
