Desgranges begins at the Neg Mawon statue in Port-au-Prince, where the maroon holds a machete in one hand and a conch shell in the other, and she takes the shell itself as the starting point for a research method. Read as a spiral instead of a line, the lambi yields four pathways, movement, memory, transformation and temporality, which she maps onto three registers of analysis: how diaspora identity is characterised, conceptualised and composed. The design is grounded in Bantu-Kongo cosmology, Adinkra and Sankofa figures, the Ndop and Atoghu cloths of northwest Cameroon, Dogon accounts of Sirius, and the spirals drawn in Vodou veve. She then tests the method on three Haitian writers: Trouillot on how power decides what gets recorded, Danticat on water and living memory, and Jemima Pierre on present-day blackness. Haitian feminist practice, from women who fought in the Revolution to today's madan sara, supplies the political footing, and the model is offered for classroom use as well as for criticism.