Abstract

I counter a tendency in critical phenomenology to read Frantz Fanon as derivative upon, indeed reducible to, other (European) phenomenologies, eliding the originality and contemporaneity of his method. I propose it is time to read phenomenology through Fanon, instead of centering analysis on his assumed debt to Maurice Merleau‐Ponty's body schema. Fanon reconfigures and ungrounds phenomenology in Peau noire, masques blancs (Black Skin, White Masks). I show how he creates his own method through an anticolonial phenomenology of touch and affect that breaks with the perceptual spectacle at the center of most phenomenologies before him. I read Fanon's “toucher du doigt”—in contrastive relation to Edmund Husserl's touch‐sensings—to define a phenomenology that dwells with colonial wounding and holds the memory of a “burning” colonial duration. This is to say that Fanon's phenomenology is not mere description; rather, Fanon invents a critical, distinctly temporal, and anticolonial method from the affective territory in which he has had to dwell. This method addresses the conditions of possibility for doing (critical) phenomenology. Fanonian phenomenology makes tangible the (de)structuring violence through which colonialism ontologizes itself, while providing tools to dwell with the wounding and critically mine it—to create possibilities for living otherwise than what colonialism makes of us.