Taking as our starting point a visible tendency to homogenize the subjects “we” and “I” in the English translations of Frantz Fanon’s Peau noire, masques blancs, this article reflects on the problems raised by the translation of different subjectivities. Focusing on the two existing English translations that raise common issues, our questioning is mainly a result of our own exercise of translating the same work into Chinese. How can we untangle the many presences of “I” that put bodies and experiences into voice and movement? How can we restore performative poetic writing? These questions lead us to rethink the relations with the other, which are central to Fanon’s writing and essential for any reflection on translation.