 This move positions Fanon against Négritude in familiar and new ways. It is familiar in that he rejects racialized thinking as central to Black liberation struggle, entwining race and culture at their core; nothing from a racist culture can inform liberatory racial thinking precisely because the existence of racism “deeply modifies” what appears in culture as race. Fanon underscores this when he deems blues, an African-American vernacular art form, a “slave lament” that is “offered up for the admiration of the oppressors” (1964 [1994: 37]). It is in some ways new, insofar as he gathers together the multi-faceted analysis and pessimism of Black Skin, White Masks and distills it all into a vision of race and culture. And like the conclusion to Black Skin, White Masks, and indeed most of his work, the vision is essentially apocalyptic. “The end of race prejudice”, Fanon writes, “begins with a sudden incomprehension” (1964 [1994: 44]). Which is to say, for Fanon the de-linking of racism and culture only comes at the moment that culture itself, as we have known it, becomes incomprehensible and we begin the work of assembling new cultural forms. This insight is fully developed five years later in the central chapters of The Wretched of the Earth.