As part of France's opposition to the independence of its former colonies in the years following World War II, its army remained deeply invested in preventing the decolonization of the territories comprising French West Africa (FWA). Even as late as the 1950s, the French Army clung to the hope that it was possible to retain FWA as a colony, believing that its relations with African soldiers could offer the perfect model for continued ties between France and its West African territories. In The French Army and Its African Soldiers Ruth Ginio examines the French Army's attempts to win the hearts and souls of the local population at a time of turbulence and uncertainty regarding future relations between the colonizer and colony. Through the prism of the army's relationship with its African soldiers, Ginio considers how the army's activities and political position during FWA's decolonization laid the foundation for France's continued active presence in some of these territories after independence. This project is the first thorough examination of the French Army's involvement in West Africa before independence and provides the essential historical background to understanding France's complex postcolonial military relations with its former territories in Africa.

A thorough history of the French Army in Africa and of the native peoples of Africa who came into contact with the French. Special attention is paid to the native African soliders attached to the French Army. Annotation copyrighted by Book News, Inc., Portland, OR

Reservoirs of men -- Race and the deployment of troupes indigènes -- Hierarchies of rank, hierarchies of race -- Race and language in the army -- Religion and the "problem" of Islam in the French army -- Race, sex, and imperial anxieties -- Between subjects and citizens

This text offers a socio-political history of post-war Francophone West Africa, focusing on colonial conscripts from Senegal.

For much of the twentieth century, France recruited colonial subjects from sub-Saharan Africa to serve in its military, sending West African soldiers to fight its battles in Europe, Southeast Asia, and North Africa. In this exemplary contribution to the "new imperial history," Gregory Mann argues that this shared military experience between France and Africa was fundamental not only to their colonial relationship but also to the reconfiguration of that relationship in the postcolonial era. Mann explains that in the early twenty-first century, among Africans in France and Africa, and particularly in Mali--where Mann conducted his research--the belief that France has not adequately recognized and compensated the African veterans of its wars is widely held and frequently invoked. It continues to animate the political relationship between France and Africa, especially debates about African immigration to France. Focusing on the period between World War I and 1968, Mann draws on archival research and extensive interviews with surviving Malian veterans of French wars to explore the experiences of the African soldiers. He describes the effects their long absences and infrequent homecomings had on these men and their communities, he considers the veterans' status within contemporary Malian society, and he examines their efforts to claim recognition and pensions from France. Mann contends that Mali is as much a postslavery society as it is a postcolonial one, and that specific ideas about reciprocity, mutual obligation, and uneven exchange that had developed during the era of slavery remain influential today, informing Malians' conviction that France owes them a "blood debt" for the military service of African soldiers in French wars.

This analysis of French colonial ideology and interest in Morocco delineates the manner in which the agents of the protectorate regime sought to conquer the country and control its indigenous inhabitants. Numerous comparative perspectives are offered, placing the French policy towards Morocco in a wider context, making this study relevant to not only North Africa, but also to other parts of the post-colonial world.

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*WINNER OF THE 2021 INTERNATIONAL BOOKER PRIZE* *ONE OF PRESIDENT BARACK OBAMA'S FAVORITE BOOKS OF 2021* Winner of the Los Angeles Times Book Prize for fiction Shortlisted for the 2022 DUBLIN Literary Award "Astonishingly good." —Lily Meyer, NPR "So incantatory and visceral I don’t think I’ll ever forget it." —Ali Smith, The Guardian | Best Books of 2020 One of The Wall Street Journal's 11 best books of the fall | One of The A.V. Club's fifteen best books of 2020 |A Sunday Times best book of the year Selected by students across France to win the Prix Goncourt des Lycéens, David Diop’s English-language, historical fiction debut At Night All Blood is Black is a “powerful, hypnotic, and dark novel” (Livres Hebdo) of terror and transformation in the trenches of the First World War. Alfa Ndiaye is a Senegalese man who, never before having left his village, finds himself fighting as a so-called “Chocolat” soldier with the French army during World War I. When his friend Mademba Diop, in the same regiment, is seriously injured in battle, Diop begs Alfa to kill him and spare him the pain of a long and agonizing death in No Man’s Land. Unable to commit this mercy killing, madness creeps into Alfa’s mind as he comes to see this refusal as a cruel moment of cowardice. Anxious to avenge the death of his friend and find forgiveness for himself, he begins a macabre ritual: every night he sneaks across enemy lines to find and murder a blue-eyed German soldier, and every night he returns to base, unharmed, with the German’s severed hand. At first his comrades look at Alfa’s deeds with admiration, but soon rumors begin to circulate that this super soldier isn’t a hero, but a sorcerer, a soul-eater. Plans are hatched to get Alfa away from the front, and to separate him from his growing collection of hands, but how does one reason with a demon, and how far will Alfa go to make amends to his dead friend? Peppered with bullets and black magic, this remarkable novel fills in a forgotten chapter in the history of World War I. Blending oral storytelling traditions with the gritty, day-to-day, journalistic horror of life in the trenches, David Diop's At Night All Blood is Black is a dazzling tale of a man’s descent into madness.

Narrating War and Peace in Africa interrogates conventional representations of Africa and African culture -- mainly in the twentieth and early twenty-first centuries -- with an emphasis on portrayals of conflict and peace. While Africa has experienced political and social turbulence throughout its history, more recent conflicts seem to reinforce the myth of barbarism across the continent: in Nigeria, Rwanda, Somalia, Sierra Leone, Uganda, Kenya, Mozambique, Chad, South Africa, Zimbabwe, and Sudan. The essays in this volume address reductive and stereotypical assumptions of postcolonial violence as "tribal" in nature, and offer instead various perspectives -- across disciplinary boundaries -- that foster a less fetishized, more contextualized understanding of African war, peace, and memory. Through their geographical, historical, and cultural scope and diversity, the chapters in Narrating War and Peace in Africa aim to challenge negative stereotypes that abound in relation to Africa in general and to its wars and conflicts in particular, encouraging a shift to more balanced and nuanced representations of the continent and its political and social climates. Contributors: Ann Albuyeh, Zermarie Deacon, Alicia C. Decker, Aména Moïnfar, Kayode Omoniyi Ogunfolabi, Sabrina Parent, Susan Rasmussen, Michael Sharp, Cheryl Sterling, Hetty ter Haar, Melissa Tully, Pamela Wadende, Metasebia Woldemariam, Jonathan Zilberg. Toyin Falola is the Jacob and Frances Sanger Mossiker Chair in the Humanities and University Distinguished Teaching Professor at the University of Texas at Austin. Hetty ter Haar is an independent researcher in England.