The family's reporter takes a job at the rubber company's newspaper

SHADA was the Societe Haitiano-Americaine de Developpement Agricole, a wartime venture backed by the United States to raise rubber in Haiti after the Japanese conquest of Southeast Asia cut the world off from its usual supply. In mid 1943 Jeanne Sylvain went to work at the company's newspaper, A Propos de SHADA. Her brothers and sisters were abroad through the decade and she was the one at home, which made her letters the family's running account of conditions in the country. At the beginning of January 1944 she told her sisters three things: food prices were moving constantly, work was becoming less secure, and Haitians were being pushed off their land. She had the last item from her own employer, whose planting programme was clearing peasant holdings for rubber vine. Her desk gave her the company's version of itself in the morning and the view from the road on the way home. She wrote both down.

Allied flags flew between Cairo and Casablanca in 1945, and none of the powers holding them had a secure future in North Africa. Moroccans expected full sovereignty once the war was won, on a promise reported to have come from Roosevelt himself. France answered by suppressing the new nationalist party Istiqlal, and the sultan Sidi Mohammad became the central figure of the struggle over the rest of the decade. In Algeria the American landings gave nationalism a push. Ferhat Abbas and other men schooled in French put their names to a Manifesto of the Algerian People that demanded reform. Abbas then set up the AML to argue for a republic federated with France. He was attacked by the settlers on one flank and by Ahmed Messali's PPA on the other for asking too little. Protest turned violent in 1945 and was put down with great brutality, and the years that followed brought French backing for the settlers and rigged elections. Tunisia lost its reforming monarch Moncef Bey to exile while Bourguiba held to the Free French. In Egypt the Muslim Brotherhood turned nationalist while London thought about the canal.

The Haitian arts movement of the 1940s ran alongside negritude, the wider current that took the study of African cultures across the world as its subject. Haiti drew people in. Katherine Dunham, Zora Neale Hurston, Suzanne Cesaire, Langston Hughes and Lavinia Williams all studied, taught or made work in the country, overlapping there with Haitian artists including Jeanne Perez and de Pradines. The traffic ran the other way as well. Lina Mathion Blanchet, de Pradines and Perez left to perform in the United States. What made the country attractive to a Black American writer or a Martinican theorist was that the argument they were having elsewhere had been settled here in 1804 and had a hundred and forty years of practice behind it. Haitian dance, Haitian music and Haitian religion were available to be studied as a living culture. For the Haitian artists, the visitors were an audience that already agreed with them, which is a rare thing to have.

In February 1944 Francois Duvalier published an article on the stadial evolution of Vodou in the bulletin of Haiti's Bureau of Ethnology. In it he credited Jean Price Mars with proclaiming to the Society of History and Geography what he called an essential truth: that 1804 issued from Vodou. His own reasoning, he added, had been bound to arrive at the same conclusion. Duvalier was then a doctor and an ethnologist, thirteen years away from the presidency. The formula compressed the whole indigenist reading of Haitian independence into a slogan, and it gave the future dictatorship a claim on the religion of the majority and on the founding event of the country in one move. Once in power he presented himself as a spiritual father and encouraged the identification. The intellectual equipment was assembled well before there was a regime to use it.