An embassy formally protests against a motion picture

The film, shot in Dahomey after the director toured the Caribbean and West Africa looking for a country that could stand in for Haiti, was released late in 1967 with Greene's own screenplay. On 1 November 1967 the Haitian embassy in Washington issued a long statement attacking it on the government's black and red letterhead, which Diederich says may be the first time an embassy has officially protested against a movie. An American newspaper devoted an editorial to the comedy of the protest at the end of that month. Diederich adds a coda Duvalier is likely to have enjoyed. Four weeks after the film opened, on Christmas Day 1967, President Soglo of Dahomey was removed by his own subordinates, and while there were ordinary explanations there were also those who blamed the long reach of Papa Doc in revenge for the filming. Greene said Vodou deserved some credit.

Between 1968 and 1978 the Duvalier family took 265 million gourdes out of the sale of cement alone. The figure comes from combining Haiti's national cement production statistics with the distribution commission levied on every bag. Adjusted for inflation it is about 39 million United States dollars in 2019 terms. Those were the years of the building boom, so the money came from Haitians who were putting up houses. The mechanism ran the whole length of the chain. Ciment d'Haiti held the monopoly on making and importing cement, the Regie du Tabac et Allumettes held the monopoly on distributing it, and each stage added a margin that ended in private hands. The effect on the buildings was direct. Builders who could not afford the cement used less of it than the mix required, and the houses that went up during the boom were weaker for it.

Charles Gabriel Seligman published The Races of Africa in 1930. Its organising claim was the Hamitic hypothesis, which held that any large achievement in sub Saharan Africa had been the work of lighter skinned invaders arriving from the north. Ehret describes the book as a racist tract wearing the clothes of scholarship. Oxford University Press and the International African Institute reissued it in 1957 and again in 1967, by which point no one defending it could claim ignorance. It remains available for sale. The consequences reached well beyond libraries. Belgian administrators in Rwanda used the same racial ladder to sort Tutsi above Hutu, issued identity cards on that basis, and hardened categories that had been fluid into fixed racial facts. The propaganda of the 1994 genocide, which described Tutsi as foreign invaders to be driven out, drew on that scheme. A university press had supplied the authority. I keep this on a Haitian timeline because the habit of crediting African achievement to somebody else is the habit that turned Saint Domingue into a French accomplishment.

In the second edition of The Black Jacobins, published in 1963, C. L. R. James gave the chant recorded by Moreau de Saint-Mery this reading: the singers swear to destroy the whites and everything they possess, and to die rather than break the vow. The line has been quoted ever since as proof that the religion of the enslaved carried a revolutionary programme. James had taken the words, without attribution, from a book brought out in Paris in 1814 by the planter Drouin de Bercy, where they were attached to a second chant altogether and were already wrong there. The chant Moreau wrote down is in Kikongo, a language of the western Congo basin, and it calls on the deity Mbumba to render harmless the blacks, the European and the witches. It was sung when a new member was initiated into a cult, and its enemies are supernatural as much as human.