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40 pages 1 hour read

David Diop, Transl. Anna Moschovakis

At Night All Blood Is Black: A Novel

Fiction | Novel | Adult | Published in 2018

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Chapters 9-13Chapter Summaries & Analyses

Chapter 9 Summary

Content Warning: The source material contains graphic depictions of rape and violence, including murder and torture.

After Alfa returns with a seventh severed hand, Captain Armand orders him, through a terrified older Black translator, the “Croix de Guerre Chocolat” Ibrahima Seck, to spend a month resting in the Rear (43). Alfa is aware that Seck’s fear stems from the idea that he is a dëmm who will resent being sent away from his hunting grounds. The captain and Seck attempt to learn where Alfa has hidden the severed hands, but he refuses to tell them.

Chapter 10 Summary

Alfa explains that he preserved his second through eighth severed hands by salting and drying them in the kitchen fire. His first severed hand was stolen by his friend Jean-Baptiste, the “trickster, the joker” while he was returning with the second (46). Jean-Baptiste is introduced as Alfa’s “only real white friend” and the only person who consoled him after Mademba’s death (48). After stealing the hand, Jean-Baptiste plays with it, saluting the other soldiers with it, using it to shake their hands, and telling them they will all be court-martialed for shaking hands with the enemy.

Chapter 11 Summary

Jean-Baptiste uses the rotting, severed hand to torment the German soldiers, raising its middle finger, holding it up on his bayonet, and shouting “Up yours, Krauts!” (52). Jean-Baptiste is intentionally trying to draw the enemy’s attention because he “received a certain perfumed letter,” which is implied to be a disappointing letter from a sweetheart (51). Jean-Baptiste assures his own death when he leaves the trench with the hand, turbaned in gauze and still raising its middle finger, attached to his helmet. The Germans hold their fire at the beginning of the attack, giving time for an artilleryman to identify Jean-Baptiste and shoot off his head.

Chapter 12 Summary

After Jean-Baptiste’s death, Alfa crawls for hours in no-man’s-land to the German trenches. He waits until the sounds of singing die down, and he sees the smoke from a cigarette rising from a nearby trench. He leans into the trench, extracts the young soldier who is smoking, and makes him his victim. Alfa knows that the small, teenage soldier has likely not killed Mademba or Jean-Baptiste, but he murders him despite his pitiable youth.

When Alfa returns to the trench, however, his reception is not warm. Jean-Baptiste is no longer there to stir up the others to celebrate Alfa’s exploits, and the other soldiers see the role that the severed hand played in Jean-Baptiste’s death. The soldiers now see Alfa as “a dangerous madman, a bloodthirsty savage” (59).

Chapter 13 Summary

Alfa refuses to tell Captain Armand and Ibrahima Seck where the hands are, for he knows that with them as evidence, they will be able to lock him up. He is convinced that after his rest period, Captain Armand will arrange to have him killed by the enemy.

He then recounts an incident in which some of the Toubab soldiers attempted a mutiny by refusing to leave the trench at the captain’s whistle. Armand had their arms bound and ordered them up the ladders and out of the trench, forcing them to choose between being shot in the trench as traitors or being killed in no-man’s-land and receiving a posthumous Croix de Guerre and a pension for their loved ones. Alfa admires Alphonse, the leader of the traitorous friends, who died climbing out of the trench with his wife’s name on his lips.

Returning to the confrontation with Armand over the hands, Alfa concludes that it is Armand who is the dëmm, a man so in love with the war that he will sacrifice anything to serve it. He thinks that Armand wants to do away with him because he sees him as a rival.

Chapters 9-13 Analysis

These chapters continue to develop the complex cultural and racial dynamics in the Senegalese Tirailleurs’ experience. Alfa portrays Ibrahima Seck, the “Croix du Guerre Chocolat” as a collaborator with the white colonizers as he translates the captain’s words into Wolof (43). This is the first acknowledgment in the book of the language barrier between Alfa and his commanders. Seck later translates Jean-Baptiste’s jokes, who is Toubab, or a white African soldier. When translating for Captain Armand, however, Alfa counts the breaths in the French and Wolof speeches and suspects Seck is leaving out some of the captain’s remarks for reasons of his own. These language gaps and the relative rankings of each man illuminate the colony’s racial hierarchy, as well as Alfa’s isolation from both his superiors and fellow soldiers.

Despite these differences, white and Black soldiers alike suffer under Captain Armand’s command. Ventures out of the trench to attack the Germans lead to no measurable progress, only senseless death. The Toubab soldiers object to this waste of life when they ask Captain Armand to stop ordering them out of the trench. The deaths of these “traitorous friends” leave Alfa admiring their leader, Alfonse, as “a real warrior […] not afraid to die” and concluding that Captain Armand is a “dëmm” (63, 65). By naming his French commander a man-devouring sorcerer, Alfa rebels against the role of the “mystical savage” that has been placed upon him and argues that the true evil in war lies farther up the chain of command. Armand’s willingness to sacrifice the lives of others mirrors the empire’s willingness to do so, exemplifying how war replicates colonial violence more broadly.

The severed hands continue to represent Alfa’s unhealed trauma as their presence spreads terror among the trench mates and, eventually, causes Jean-Baptiste’s death. As Alfa’s only other friend in the trench, Jean-Baptiste’s death symbolizes the true futility of Alfa’s ritual; not only will it not bring Mademba back, but he will continue to lose loved ones. The men’s reactions to the hands also strengthen the arbitrary divide between justifiable and unjustifiable violence. Alfa understands this divide, stating that “on the battlefield they wanted only fleeting madness. Madmen of rage, madmen of pain, furious madmen, but temporary ones […] As soon as the fighting ends we’re to file away our rage, our pain, our fury” (43). Nonetheless, he cannot adhere to it, allowing the violence-fueled world of warfare to bleed into quiet moments, which he calls a “taboo.” He is sent to the hospital in the hopes of reestablishing the boundaries between these worlds, but Alfa secretly brings his preserved severed hands, foreshadowing that his trauma will follow him to the Rear.

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