Pastiche, protest, and the politics of reception in “the J’irai cracher Affair”

In The Devil Finds Work (1976), James Baldwin presents a remarkably generous review of Boris Vian's controversial novel, J’irai cracher sur vos tombes (1946). Vian's book was exceptionally sensitive to the “rage and pain” of African Americans, Baldwin thought. Baldwin's words seem surprising today: Vian, a white Frenchman, published the work as a protest novel under the false identity of a fictional African American, whom he called Vernon Sullivan. The novel was a hoax, a prank. J’irai cracher sur vos tombes tends to be viewed today in North America, rightly, as an egregious instance of cultural appropriation. The present study argues, however, that the French pastiche of a Black American protest novel baited the reading public into a debate that ignored racism, colonialism, and protest. We argue to view J’irai cracher sur vos tombes and the ensuing scandal it provoked, as an historical archive that allows us to chart a certain ideological climate in France. The public reception of the novel makes abundantly clear that, on the subject of J’irai cracher, Paris wanted to talk about sex, youth morality, and the threats of American cultural hegemony—not racism. Read as an historical affaire, the scandal exposes an extended moment of collective blindness in France. When examined as an historical incident, “the J’irai cracher Affair” reads like a dramatic ironic pronouncement, as if Vian were making a joke only he and a select audience—Baldwin, for one—would understand.