 Fanon’s method in Black Skin, White Masks is a complicated question and one of the more interesting bits of scholarly discussion. The primary approach in the text is existential-phenomenological, something borne out in the rich, textured personal narratives that seize upon the essential structures of the narrativized event of anti-blackness, and also indicated in the title of the fifth chapter—L’experience vécu (experience vécu translates the key phenomenological notion of Erlebnis, properly rendered in the Richard Philcox translation as “lived-experience”). Lewis Gordon’s work on Fanon has argued for the centrality of existentialism and existential framing of key questions across his oeuvre, especially in Gordon’s early work Fanon and the Crisis of European Humanity (1995) and recently in What Fanon Said (2015). The influence of Jean-Paul Sartre and Maurice Merleau-Ponty also lends credence to the phenomenological characterization, but Fanon’s sustained engagement with the Négritude movement, psychoanalysis, Hegelian thought, and Marxism (something evidenced most clearly in later works and documented in Reiland Rabaka’s multi-volume interpretation of Fanon, Négritude, and revolutionary Africana theory) opens up the question of methodology to any number of interpretations and remains one of the more engaging areas of Fanon-interpretation. Homi Bhabha’s innovation as a reader of Fanon has been to draw out the post-structuralist dimensions of his thought, thereby weaving Fanonian themes into contemporary postcolonial theorizations of hybridity, language, subjectivity, and time. We see much the same in Anthony Alessandrini’s provocative book on Fanon and cultural studies, Fanon and the Future of Cultural Politics (2014), which puts Fanonian thinking in dialogue with Michel Foucault, Edward Said, Jamaica Kincaid, and Paul Gilroy, among others. In the end, Fanon is a unique thinker who blends personal narrative and political strategizing with heady social theory and numerous philosophical twists and turns.