The second issue lines up Haitian women with Ethiopia against Italy

Italy invaded Ethiopia in October 1935, the same month the Ligue Feminine d'Action Sociale published the first number of its newspaper. The second number, in November, set Haitian women beside Ethiopian ones. Reports had reached Port-au-Prince that Ethiopian women were fighting, and La Voix des Femmes printed them and read that war as a campaign for sovereignty running parallel to its own. The league had already made a habit of naming the Haitian women of the revolution at the top of its pages, a roll call repeated like a libation poured before anything else could begin. Jeanne Perez kept the practice up so that the record stayed in the present tense and the next generation would inherit it already remembered. Perez knew nobody in the league was under fire. She invoked women who had been in order to argue that a long campaign for women's rights was a campaign nonetheless, and that the time, money and energy it swallowed were worth spending.

The Stage Society mounted two performances at the seven hundred and thirty seat Westminster Theatre, a Sunday evening show followed by a matinee. Hogsbjerg identifies what made them a first. Black professional actors from across the diaspora, led by Paul Robeson and including Robert Adams as Dessalines and Orlando Martins as Boukman, appeared on the British stage in a play written by a black playwright. Admission required at least a guinea, the annual subscription to a society founded in 1899 to evade the Lord Chamberlain's censorship through private performances. To fit two shows James had cut three scenes from the eleven-scene script, which removed Toussaint's wife and sons entirely. At the second performance James stepped in himself for the absent actor playing Macoya and took the applause as author from the stage.

The mountains that became the commune of Kenscoff were thin country under the French. The large sugar planters held the plains, and the estates up here belonged to men like Robin de Kenscoff and Lefebure de Fourcy, with few installations and few slaves. Most of those slaves came from the Lower Congo. Some had come from further up the river and been sold on the lower stretch, which is why a small settlement near Furcy was still called Nan Congo in 1937, and why a distinctive type of hut was found there. Many of them had arrived recently and were proud of having been born in Africa. In the lineage cemeteries of the region the inscriptions read like this: the person's name, the word African, a date of birth and a date of death. After the revolution some of their descendants obtained state grants of sixty to ninety acres and farmed them as owners.

In June 1933 René Piquion began publishing his translations of Langston Hughes in the literary journal La Relève. Hughes was the most widely read poet of the Harlem Renaissance, a writer who used the rhythms of the blues and the speech of working people and refused the polite subjects expected of Black writers in the United States. Piquion put him into French for Haitian readers at a moment when Haitian writers were arguing about that exact question, whether a literature should be built from the language and life of the majority or from European models. Translation was the argument conducted in practice. Hughes later visited Haiti and knew Jacques Roumain, whose novel Gouverneurs de la rosée he would translate into English after Roumain died. The traffic ran in both directions across the water. A generation of Black writers in two countries held by the same American power were reading, translating and answering one another.