An important precision needs to be made here about the space created by the Nardal sisters for Negritude. Thus, T. Deanan Sharpley-Whiting calls attention to the fact that a “masculinist genealogy constructed by the poets and shored up by literary historians, critics, and Africanist philosophers continues to elide and minimize the presence and contributions of black women, namely their francophone counterparts, to the movement’s evolution” (Sharpley-Whiting, 2000, 10). And she quotes a letter from Paulette Nardal, written in 1960, in which she “‘bitterly complained’ of the erasure of her and Jane Nardal’s roles in the promulgation of the ideas that would later become the hallmarks of Césaire, Damas, and Senghor” (Sharpley-Whiting, 2000, 10). It must be recalled, in particular, concerning the “genealogy” of the movement, that an article by Jane Nardal, entitled “Internationalisme noir”, published in 1928, predated by more than ten years the first important theoretical article published by Senghor: “What the Black Man Contributes” (published in 1939). What Jane Nardal says in her short article about a “Negro sprit” transcending the differences inevitably created by the course of history, about the importance of “turning back toward Africa (…) in remembering a common origin”, or about the significance, first and foremost for the Africans themselves, of the discovery by Europeans (first the “snobs and artists” among them) of “Negro art” and, more generally, “the centers of African civilizations, their religious systems, their forms of government, their artistic wealth” (Nardal, 2002, 105–107), are all notions and themes that will be developed by Senghor, Césaire, and Damas.